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Full text of "Photoplay (Jul - Dec 1924)"

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The 'National (juicie to zMotion 'Pictures 




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July *^<r 











2ttents 




•5,000 IN CASH FOR A TITLE 




Viola Dana — Metro Star 



VlOLA DAN A does her daintiness justice with a Bradley Bathing 
Suit. She finds that Bradley makes just her style in a suit that's cut 
for comfort. Naturally, the colors are absolutely permanent. 

Bradley's are made for men and children, too. Merchants are 
showing them now in the very newest styles. 

BRADLEY KNITTING COMPANY, Dclavan, Wis. 



Free Swim Book! 
Send for your copy of the best 
instruction book ever written. 
Teaches beginners— improves 
even good swimmers. By 
Harry Hazelhurst, Chicago 
Athletic Association. 



Slip into a 




-and Out -of- Doors! 



Write for Bradley Style 
Book of Knitted Bathing 
Suits, Sweaters and Jerseys. 



Photoplay Magazine Advertising Si . noN 





Refresh 
yourself 







411 1 « 



\ou'd like a cool and cheerful place? He's 
waiting at one smiling. "\bu'll want a 
sparkling ice cold glass ? He holds one most 
inviting. "You can only spare a minute or two: 
He'll not keep you longer, ^ou need but walk 
a block or less ; he's on most every corner 



The Coca-Cola Company, Atlanta, Ga. 



Drink 




Delicious and Refreshing 




5 



$ 



When you wriio to idfcrt 



Photoplay Magazine — Advertising Section 
****** 




^~Trad< 



MOTION PICTURE PROGRESS 

DEPENDS ON THE ENTERTAINMENT IDEALS 

OF THE GREATEST ORGANIZATION IN 

THE INDUSTRY 

JT ARAMOUNT entertainment values, as instanced 
by Cruze's "The Covered Wagon," and De Milk's 
"The Ten Commandments," and a long list of 
progressively greater pictures, are your assurance that 





if it's a Paramount Picture, it's the best show in 
town. 




NEW PARAMOUNT PICTURES 

Produced by Famous Players-Lasky Corporation 



Adolph Zukor and Jesse L. Lasky present 
"THE FIGHTING COWARD" 

A JAMES CRUZE Production with Ernest Torrence, Mary Astor, 

Cullen Landis, Phyllis Haver, Noah Beery. By Booth Tarkington. 

Adapted by Walter Woods. 

Adolph Zukor and Jesse L. Lasky present 
"THE DAWN OF A TOMORROW" 

A GEORGE MELFORD Production -with Jacqueline Logan, David 

Torrence, Raymond Griffith. From the novel and play by Frances Hodgson 

Burnett. Screen play by Harvey Thew. 

Adolph Zukor and Jesse L. Lasky present 

THOMAS MEIGHAN in "THE CONFIDENCE MAN" 

From the story by L. Y. Erskine and R. H. Davis. Directed by Victor 

Heerman. Screen play by Paul Sloane. 

Adolph Zukor and Jesse L. Lasky present 
CECIL B. DeMILLE'S PRODUCTION "TRIUMPH" 

With Leatrice Joy, Rod La Rocque, Victor Varconi, Charles Ogle, Julia 

Faye, Theodore Kosloff, Robert Edeson, Zasu Pitts, George Fawcett and 

Raymond Hatton. Screen play by Jeanie Macpherson. From the story by 

May Edginton. 



Adolph Zukor and Jesse L. Lasky present 
"THE BREAKING POINT" 

A HERBERT BRENON Production with Nita Naldi, Patsy Ruth 

Miller, George Fawcett, Matt Moore. From the novel and play by Mary 

Roberts Rinehart. Screen play by Julie Heme and Edfrid Bingham. 

Adolph Zukor and Jesse L. Lasky present 

"BLUFF" 

A SAM WOOD Production with Agnes Ayres and Antonio Moreno. 

From the story by RITA WEIMAN and JOSEPHINE L. QUIRK. 

Screen play by Willis Goldbeck. 

Adolph Zukor and Jesse L. Lasky present 
"TIGER LOVE" 

A GEORGE MELFORD Production with Antonio Moreno and Estelle 

Taylor. From the play by Manuel Penella. Screen play by Howard 

Hawks. 

Adolph Zukor and Jesse L. Lasky present 

POLA NEGRI in "MEN" 

A DIMITRI BUCHOWETZKI Production. From the story by Dimitri 

Buchowetzki. Screen play by Paul Bern. 



PRODUCED BY 




tyaramaunttyictures 



Every advertisement In PHOTOPLAY MAGAZINE is guaranteed. 




The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R. QUIRK, Editor 



Vol. XXVI 



Contents 

July, 1924 



No. 2 



Cover Design 



Hal Phyfe 



Anna Q. Nilsson 

Brief Reviews of Current Pictures 
In Tabloid Form for Ready Reference 

Brickbats and Bouquets 
Letters from Readers 

Rotogravure: New Pictures: 

Clara Bow, Gloria Swanson, Mr. and Mrs. Jack 
Pickford, Kathleen Key, Alma Rubens. Marian 
Nixon, Lillian Rich 

Speaking of Pictures (Editorials) James R. Quirk 

Thomas Meighan's New York Apartment (Photographs) 
A Chinese Setting of Exquisite Taste 

Favorite Sweethearts of the Screen 
The Male Stars Name Their Choice 

The Story Without a Name (Fiction) Arthur Stringer 
Photoplay Offers $5,000 in Cash for a Title to This Great. Absorb- 
ing Serial 

Illustrated by Douglas Duer 

The Final Word in the Bobbed Hair Controversy 

(Photograph) 
Valentino as a Barber in "Monsieur Beaucaire" 

Alumnae of the Sennett Academy (Photographs) 
Figures as Well as Figuring Bring Success 

(Contents continued on next page) 

Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, 111. 
Editorial Offices, 221 W. 57th St., New York City 

Tlie International News Company, Ltd., Distributing Agents, 5 Bream's Bull ling, ! "n Ion, England 

Edwin M. Colvtn, p re s. James R. Quirk. Vice-Pres. R. M. Eastman, Sec.Treas. 

Kathryn Dougherty, Business Mgr. 

Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba: 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act '»« M 1Kb 



12 



19 



27 
28 

30 

32 



37 



38 



JoM.S^ 



Photoplays Reviewed 

in the Shadow Stage 

This Issue 



Save tin's magazine — rrfcr to 
the criticisms before you pick out 
your evening's entertainment. 
Moke Ibis your reference list. 

Page 44 

Dorothy Vernon of Haddon Hall 

United Artists 

The Goldfish . Fir-t National 

The Rejected Woman ... Di>tinctive 

45 

Cytherea Fir~t National 

The Lone Wolf Paramount 

Men Paramount 

Page 46 

The Danger Line F B. O. 

Sherlock. Jr Metro 

The Woman Who Sinned F It. () 

Untamed Youth I l; ( p. 
The Trout ile Shooter 

A Girl of the Limberlost I B. 



Pa t 47 

Li-ten Lester Principal 

Bluff Paramount 

The Qhechahco! \ <> Exhibitor* 

Forty-Horse Hawkins Universal 
Mile. Midnight 

Riders Up. ... . Universal 

/' , I2j 

The Circus Cowboy 

The Telephone Girl I r 

Ridgeway <>i Montana Uri- 

The Dangerous Blonde Universal 

Daring Youth Prim ipa' 

Wanted l>v the I i \ 



Copyright, 1924, by the PHOTOPLAY PUBLISHING CoMPANV.Chlogo 



Contents — Continued 

Big Money — No Education Necessary (Photographs) 40 

Satire in Pictures of Some of the Methods of the Press Agent 

Close-Ups and Long Shots Herbert Howe 42 

Witty Comment on Screen Personalities 

Mae Murray — A Study in Contradictions 

Adela Rogers St. Johns 43 

The Shadow Stage 44 

The Department of Practical Screen Criticism 

The Photoplay Medal of Honor 48 

You Are Asked to Help Name the Best Motion Picture of 1923 

The Love Dodger (Fiction) Adela Rogers St. Johns 49 

The Conclusion of This Fascinating Serial Story of Hollywood Life 
Illustrated by Arthur William Brown 

Studio News and Gossip Cal York 52 

What the Film Folk Are Doing 

The Autobiography of Harold Lloyd 56 

Some High Lights Are Introduced in This — the Third and Last 
Installment 

Jack Holt, Regular He-Man Helen Taggart 58 

The Popular Idol Reluctantly Expresses Himself 

Rotogravure : 59 

Julanne Johnston, Rod La Rocque, Adolphe Menjou, 
Richard Barthelmess and Family, Our Gang 

No, Bradley King Is Not "Mr." Mary Winship 63 

But She Is Eligible in a Beauty and Brains Contest 
Unwept, Unhonored and Unfilmed Frederick James Smith 64 

Here You Will Find What's Become of the Stars of Yesteryear 

Meet the Champ Adela Rogers St. Johns 68 

Jack Dempsey Reveals a Surprising Personality 

The Romantic History of the Motion Picture 

Terry Ramsaye 70 
Glimpses Are Given in This Chapter into the Lives of Three Men 
Who Markedly Shaped the Development of the Silent Drama 

Why Gardiner Carroll 72 

Jane Cowl, Norma Talmadge and Laurette Taylor Explain Their 
Preference for Screen and Stage 

Our Foremost Woman Director (Photograph) 74 

Jane Murfin at Work in the Studio 

Etiquette and Fashions of the Film World 75 

The Society Male Could Give the Four Hundred Pointers 

A Real "Merton of the Movies" Mary Winship 76 

A Boy from Pendleton, Oregon, Who Turned the Trick 

Pictures That Talk 78 

Dr. Lee De Forest, the Inventor, Proves That They Are on the Way 

Polas, Barbaras, and Glorias Helen Taggart 81 

Ibanez, the Famous Novelist, Tells How Our Foremost Stars Are 
Influencing Fashions Abroad 

She Loves the Cows and Chickens (Photographs) 82 

When Anna Q. Nilsson Is Down on the Farm 

The Boy Who Fooled Mary Pickford Ivan St. Johns 84 

Eddie Phillips Is the First Person That Ever Did It 

Questions and Answers The Answer Man 87 

Friendly Advice Carolyn Van Wyck 112 

The Department of Personal Service 

Casts of Current Photoplays 122 

Complete for Every Picture Reviewed in This Issue 

Addresses of the leading motion picture studios will be found on page 10 



Is Bobbed 
Hair 

an Extravagance? 

Politics take a back seat 
when the subject of bobbed 
hair comes up. Everybody 
is talking about it. Last 
month Photoplay's story 
on "The Battle of Bobbed 
Hair" started newspaper 
controversies all over the 
country. Next month 
Photoplay will give you 
the results of an investi- 
gation to determine the 
comparative costs of keep- 
ing up the different styles 
of bobbed hair and will 
give you suggestions on 
keeping down the expense. 
Whether you bob your 
hair or not, it is going to 
save you money. 

Those 

Deauville 

Scarfs 

Every girl that at- 
tempts to be up-to-date 
is wearing scarfs this sum- 
mer. But a lot depends 
on the way you tie them. 
Bebe Daniels has become 
an expert, and next month 
she will show you all the 
ways to wear them. 

Mary Fuller is 
Coming Back 

After a phenomenal 
success for several years, 
Mary Fuller left the screen 
and deliberately disap- 
peared. Her whereabouts 
has been one of the mys- 
teries of the motion pic- 
ture. Photoplay set out 
to find her and did. The 
story will appear in the 

August Issue 

Out July 15 



Photoplay Magazine — Advertising Section 




V^ 



^Marvelous Mw Spanish liquid 
Tviakes any hair naturally curly 
in 2o minutes 



The Spanish Beggar's 
Priceless Gift 

by Winnifred Ralston 

FROM the day we started to school, Charity 
Winthrop and I were called the tousled- 
hair twins. Our hair simply wouldn't behave. 

As we grew older the hated name still clung 
to us. It followed us through the grades and 
into boarding school. Then Charity's family 
moved to Spain and I didn't see her again 
until last New Year's eve. 

A party of us had gone to the Drake Hotel 
for dinner that night. As usual I was terribly 
embarrassed and ashamed of my hair. 

Horribly self-conscious I was sitting at the 
table, scarcely touching my food, wishing I 
were home. It seemed that everyone had won- 
derful, lustrous, curly hair but me and I felt 
they were all laughing — or worse, pitying me 
behind my back. 

My eyes strayed to the dance floor and there 
I saw a beautiful girl dancing with Tom 
Harvey. Her eye caught mine and to my sur- 
prise she smiled and started toward me. 

About this girl's face was a halo of golden curls. 
I think she had the most beautiful hair I ever saw. 
My face must have turned scarlet as I compared 
it mentally with my own straggly, ugly mop. 

Of course you have guessed her identity — 
Charity Winthrop, who once had dull straight 
hair like mine. 

It had been five long years since T had seen 
her. But I simply couldn't wait. I blurted out 
— "Charity Winthrop — tell me — what miracle 
has happened to your hair?" 

She smiled and said mys- 
teriously, "Come to my 
room and I will tell you the 
whole story." 

Qharity tells of the 
beggars gift 

"Our house in Madrid faced a 
Utile, old plaza where I often 
strolled after my siesta. A Matchless Marcel 




"Miguel, the beggar, always occupied the end bench of 
the south end of the plaza. I always dropped a few 
centavos in his hat when I passed and he soon grew to 
know me. 

"The day before I left Madrid I stopped to bid him 
goodby and pressed a gold coin in his palm." 

"Hija viia" he said, "You have been verv kind to an 
old man. Digamelo (tell me) senorita, what it is your heart 
most desires." 

"I laughed at the idea, then said jokingly, 'Miguel, mv 
hair is straight and dull. I would have it lustrous and 
curly'." 

"Oieatnc, senorila." he said — "Many years ago a 
Castilian prince was wedded to a Moorish beauty. Her 
hair was black as a raven's wing and straight as an arrow. 
Like you, this lady wanted /or pelos rizos (curly hair). 
Her husband offered thousands of peso.' to the man who 
would fulfi'l her wish The prize fell to Pedro thedrozuero. 
Out of roots and herbs he brewed a potion that converted 
the princess' straight, unruly. hair into a glorious mass 
of ringlet curls. 

"Pedro, son of the son of Pedro, has that secret today. 
Years ago I did him a great service. Here you will find 
him, go to him and tell your wish." 

"I called a cache and gave the driver the address Miguel 
had given me. 

"At the door of the apothecary shop, a funny old hawk- 
nosed Spaniard met me. I stammered out my explana- 
tion. When I finished, he bowed and vanished into his 
store. Presently he returned and handed me a bottle. 

"Terribly excited — I could hardly wait until I reached 
home. When I was in my room alone. I took down my 
hair and applied the liquid as directed. In twenty minutes, 
not one second more, the transformation, which you have 
noted, had taken place. 

"Come, Winnifred — apply it to your own hair and see 
what it can do for you." 

Twenty minutes later as I looked into Charity's 
mirror I could hardly believe my eyes. The impossible 
had happened. My dull, straight hair had wound itself 
into curling tendrils. My head was a mass of ringlets and 
waves. It shone with a lustre it never had before. _ 

You can imagine the amazement of the others in the 
party when I returned to the ballroom. Everybody 
noticed the change. Never did I have such a glorious 
night. I was popular. Men clustered about me. I had 
never been so happy My hair was curly and beautiful. 
I asked Charity's permission to 
take a sample of the Spanish liquid 
to my cousin at the Century Lab- 
oratories. For days he worked, 
analyzing the liquid. Finally, he 
solved the problem, isolated the 
two Spanish herbs, the important 
ingredients. 

They experimented on fifty 
women and the results were sim- 
ply astounding. Now the Century 
Chemists are prepared to supply 
the wonderful Spanish Curling 
Lovely Curls Liquid to women everywhere. 



Take advantage of their generous trial offer— 

1 told my cousin I did not want one penny for 
the information I had given him. I did make one 
stipulation, however. I insisted that he introduce the 
discovery by selling it for a limited time at actual 
laboratory cost ph;s postage so that as many women as 
possible could take advantage of it. This he agreed 
to do. 

Don't delay another day. For the Century Chemists 
guarantee satisfaction or refund your money. 




Wavy Bob 



No-Profit Distribution 
of $3.50 Bottles 

(only one to a family) 

We are offering for o limited 
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the liquid. If you arc not satisfied in every way, 
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CENTURY CHEMISTS 
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When you write to advertisers please mention rHOTOl'I.AY MAGAZINE. 




- ' - 



Brief Reviews of Current Pictures 



ABRAHAM LINCOLN— Rockett-Lincoln.— One 
of the finest and most appealing pictures ever made, 
with Lincoln treated truthfully and reverently. 
Everyone should see it. (March.) 

ACQUITTAL, THE— Universal.— One of the best 
mystery photoplays of the year. (January.) 

AGE OF DESIRE— First National.— A woman, 
desiring riches, sacrifices better things. Interesting 
picture, well done. (March.) 

AMERICA— D. W. Griffith.— Almost another 
"Birth of a Nation." Not quite perhaps, but an 
epic film, nevertheless. Of absorbing interest to every 
American. (May.) 

ANNA CHRISTIE— First National.— A faithful 
adaptation of Eugene O'Neill's famous play, splen- 
didly acted. A bit too strong for children. (January.) 

ALIMONY — F. B. O. — Just an ordinary program 
picture, neither better nor worse. (April.) 

ARABIA'S LAST ALARM— Fox.— A joyous com- 
edy, with a clever child, a bull pup and a wonderful 
horse. Well worth while. (March.) 

ARIZONA EXPRESS, THE— Fox.— Whizzing 

melodrama. Thieves, gunplay, fast trains, 'n' every- 
thing. (June.) 

AROUND THE WORLD IN THE SPEEJACKS 

—Paramount. — A remarkably fine travel picture. 
(February.) 

AT DEVIL'S GORGE— Arrow.— Just another 
Western, that's all. (June.) 

AVERAGE WOMAN, THE— C. C. Burr.— A de- 
fense of the flapper, as typified by Pauline Garon. 
Melodrama, fairly well done. (June.) 

BAG AND BAGGAGE— Selznick.— A time-worn 
story of the country girl who gets her millionaire. 
Happens only on the screen. (May.) 

BAREFOOT BOY, THE— Commonwealth.— A 
touching and well done piece of work. Lots of good 
touches, and pathos well put over. (January.) 

BEAU BRUMMEL— Warner Brothers.— One of 

the most interesting of the costume pictures, with 
John Barrymore doing exceptionally fine work as the 
Beau. Don't miss it. (May.) 

BELOVED VAGABOND, THE— F. B. O— Made 
from W. J. Locke's story, but most of the charm and 
whimsicality are lost. (June.) 

BIG BROTHER— Paramount.— A really big, 
human picture, made by Allan Dwan. And with a 
new kid, Mickey Bennett, who is a find. (February.) 

BIG DAN — Fox. — A stereotyped story with a hero 
altogether too good to be true. (January.) 

BLACK OXEN— First National.— A good pictur- 
ization of the popular novel on the rejuvenation of a 
woman, with Corinne Griffith doing fine acting. For 
adults. (March.) 

BLIZZARD, THE— Fox.— A Swedish picture and 
nothing to be aphamed of either. A stampede of 
reindeer is a novelty. Good audience picture. (May.) 

BLOW YOUR OWN HORN— F. B. O.— A ma- 
chine-made story which turns into a picture of the 
same type- (January.) 

BOY OF FLANDERS, A — Metro— Jackie 
Coogan's latest and one of the best he ever has done. 
The boy is developing and this picture proves it. 
(June.) 

BOY OF MINE— First National.— A Tarkington 
classic of childhood, extremely well done and with 
some splendid work by little Ben Alexander. (March.) 

BREAKING POINT, THE— Paramount.— Good 
cast, fair story, good direction and action galore. Fine 
entertainment. (June.) 



BREATHLESS MOMENT THE— Universal.— A 
commonplace story which the whole family may see. 
(April.) 

BROADWAY BROKE— Selznick.— An interest- 
ing picture of New York theatrical life forty years ago. 
Mary Carr excellent. (March.) 

CALL OF THE CANYON, THE— Paramount — 
A semi-Western, with fine acting, beautiful scenery 
and nearly flawless direction. Don't miss it. (Feb.) 

CAUSE FOR DIVORCE — Selznick. — A lot of 
troubles aboutwhich no one can possibly care. (April.) 

COMMON LAW, THE— Selznick.— The cast 
saves this one from utter mediocrity. (January.) 



AS a special service to its readers, 
Photoplay Magazine inaug- 
urated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CONFIDENCE MAN, THE— Paramount.— The 
always likable Tom Meighan in a new version of the 
redemption theme. Amusing, well done and worth 
while. (June.) 

COUNTRY KID, THE— Warner Brothers.— An 
old-fashioned picture with Wesley Barry as the oldest 
of three orphans, being parents to the other two. 
(January.) 

COURTSHIP OF MILES STANDISH, THE— 

Asso. Exhibitors. — Charles Ray's latest and most 
ambitious effort, which doesn't quite register. (March.) 

CROOKED ALLEY— Universal.— Another Bos- 
ton Blackie story, but not particularly well done. 
(January.) 

CUPID'S FIREMAN — Fox. — Charles Jones 
heroically dashes through flames, saving imperiled 
women. (February.) 

DADDIES — Warner Brothers. — A good version of 
the clever stage play, with Mae Marsh and Harry 
Myers heading the cast. (April.) 

DAMAGED HEARTS— F. B. O— Conventional 
story, with good acting by Mary Carr and others. 
The long arm of coincidence is stretched again. (May.) 



DANCING CHEAT, THE— Universal.— The love 
of a dancer for a gambler. Lots of romance — little 
interest. (June.) 

DANGEROUS HOUR, THE— Johnnie Walker- 
Eddie Polo's fall from an airplane through a roof is 
the feature. (February.) 

DANGEROUS MAID, A— First National.— Good 

story and entertainment, but not worthy of Constance 
Talmadge's powers. (February.) 

DARING YEARS, THE— Equity.— A good little 
boy falls in love with a chorus girl. You know the 
rest. (April.) 

DARLING OF NEW YORK, THE— Universal.— 
Baby Peggy the delightful center of a plot with 
crooks, stolen jewels and a lost child. (January). 

DAUGHTERS OF TODAY— Selznick— Another 
preachment against the flapper, with a few digs about 
parents who are inclined to flap. (May). 

DAVID COPPERFIELD— Associated Exhibitors. 
— A Swedish production and a good one of the 
Dickens story. (January.) 

DAWN OF TOMORROW, THE— Paramount.— 
Clean, healthful entertainment for the whole family, 
well directed and acted. (June.) 

DAY OF FAITH, THE— Goldwyn.— Made of 
impossible situations; rather silly in spots. (Feb.) 

DEFYING DESTINY— Selznick.— Full of inci- 
dents, but just ordinarily good, except for Irene Rich. 
(March.) 

DISCONTENTED HUSBANDS— Apollo.— For- 
mula of the man who gets rich while his wife gets 
old. He steps out, but is cured. (May.) 

DO IT NOW— Renown.— The troubles of young 
love with father. Fair entercainmenc. (May.) 

DON'T CALL IT LOVE— Paramount. — The 
screen version of "Rita Coventry," extremely well 
produced and acted. (March.) 

DRIVIN' FOOL, THE— Hodkinson — Wally Van 
in one of the auto-driving pictures that Wally Reid 
made famous. (January.) 

DRUMS OF JEOPARDY— Truart.— Someone 

steals a lot of emeralds and there is much excitement. 
But it doesn't amount to much. (May.) 

ENCHANTED COTTAGE, THE— First National. 
- — A charming fantasy, beautifully handled, with a 
most appealing story, enacted by Richard Barthel- 
mess and May McAvoy. (June.) 

ENEMIES OF CHILDREN— Mammoth.— Con- 
ventional story of a waif, tiresomely told. (Feb.) 

ETERNAL CITY, THE— First National.— One of 
the most beautiful and entertaining pictures in 
months. (January.) 

EXCITEMENT— Universal. — One of those wives- 
who-can't-stay-home films. (June.) 

EXTRA GIRL, THE— Sennett.— Chiefly notable 
because Mabel Normand heads the cast and her 
pictures are always worth while. (February.) 

FASHIONABLE FAKERS— F. B. O.— You know 
all about this one after the first five minutes. (Feb.) 

FASHION ROW — Metro. — The best MaeMurray 
picture in a long time. She has a dual role. (Feb.) 

FAST EXPRESS, THE — Universal. — Old- 
fashioned melodrama, with wrecks, robberies and 
other sure-fire stuff. (April.) 

FIGHTING COWARD, THE— Paramount.— A 
satire on the fire-eating Southerner of the ante-bellum 
days, remarkably well done. (June.) 

FLAMING BARRIERS— Paramount.— An in- 
teresting comedy, with a tragic note in it. The forest 
fire is worth the admission. (April.) 

[ CONTINUED ON PAGE IO 1 




Photoplay Magazine — Advertising Section 

How to get real pictures 

every single time 



Takes pictures 

u he new 

Ready-Set 

ANSCO 

-its fool-proof I 

A fool-proof camera! 
No complicated mechan- 
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IO 



Photoplay Magazine — Advertising Section 



Studio Directory 

For readers^ ho may desire the addresses 
of film companies we give the principal 
active ones. The first is the business 
office; (.->) indicates studio; in some eases 
both arc at one address. 

ASSOCIATED INHIBITORS. INC.. 35 West 45tli 
Street, New York City. 

Douglas MacLean, t;ii4.' Santa Monica Blvd., 

Los Angeles, Calif. 
Mack Sennett Productions, 1712 Grendalc 
Blvd., Los Angeles, Calif. 

ASSOCIATED FIRST NATIONAL PICTURES, 
383 Madison Ave.. New York City. 

Richard Bartnelmess Productions, Inspiration 

Pictures, 565 Fifth Ave.. New York City. 
Edwin Carewe Productions. Associated First 

Xat'l Pictures. 619 Pacific Finance Bldg., 

Los Angeles, Calif. 
Samuel Goldwyn Productions, United Studios, 

Hollywood, Calif. 
Thomas H. Incc Productions, Ince Studios. 

Culver City, Calif. 
Norma and Constance Talmadge Productions, 

United Studios, Hollywood. Calif. 
Maurice Tourneur Productions, United 

Studios, Hollywood, Calif. 

DISTINCTIVE PICTURES CORP., 360 Madison 
Ave., New York City; (8) SOT East 175th St.. 
Xew York City. 

EDUCATIONAL FILMS CORPORATION, 370 

seventh Avenue, New Y'ork City. 

Christie Comedies. Christie Film Co., Inc., 

Sunset at Cower .St., Los Angeles, Calif. 
Hamilton Comedies, Lloyd Hamilton Corp., 

4500 Sunset Blvd., Hollywood. Calif. 
Mermaid Comedies, Jack White Corp., 5341 

Melrose Avenue, Hollywood. Calif. 

FAMOUS PLAY/ERS-LASKY" CORPORATION 

(PARAMOUNT;, 485 Fifth Avenue, New York. 

(s) Paramount, Pierce Ave. and Sixth St., 

Long Island City, N. Y'. 
(si Lasky. Hollywood. Calif. 
British Paramount, (s) Poole St., Islington. 

N. London, England. 
Wm. S. Hart Productions, (s) 1215 Bates 
Soreet, Hollywood, Calif. 

F. B. O. of AMER.. INC.. 723 Seventh Avenue 
New Y'ork City; (s) Corner Gower and Melrose 
Streets, Hollywood, Calif. 

FOX FILM CORPORATION, (s) 10th Ave. and 
55th St., Xew Y'ork City, (s) 1401 X. Western 
Ave., Los Angeles, Calif, (s) Rome, Italy. 

GOLDWYN PICTURES CORPORATION, 460 

Fifth Avenue, Xew York City: (s) Culver City, 
Calif. King Yidor Productions and Hugo Ballin 
Productions. 

International Films. Inc. (Cosmopolitan Pro- 
ductions). 729 Seventh Avenue, New York 
City: (s) Second Avenue and 127th St., 
Xew York City. 

IT. W. HODKIXSOX CORPORATION, 469 Fifth 
Avenue, Xew Y'ork City. 

METRO PICTURES CORPORATION, 1540 
Broadway. Xew Y'ork Cits - : (s) Romaine and 
Cahuenga Avenue, Hollywood, Calif. 

Tiffany Productions, 1540 Broadway, New- 
York City. 
Busttr Keaton Productions. Keaton Studio, 

1205 Lillian Way, Hollywood, Calif. 
Jackie Coogan, United Studios, Hollywood. 

PALMER PHOTOPLAY' CORPORATION. Palmer 
Bldg.. Hollywood, Calif., Producing at Thos. 
H. Inec Studios, Culver City, Calif. 

PATHE EXCHAXGE. Pathe Bldg., 35 West 45th 
Street. Xew Y'ork City. 

Harold Llovd Corporation. 6042 Santa Monica 

Blvd., Hollywood, Calif. 
Hal. E. Roach Studios, Inc., Culver City. 

Calif. 
Mack Sennett Comedy Productions, Los 
Angeles, Calif. 

PREFERRED PICTURES. 1650 Broadway, New 
York City; (s) 0640 Santa Monica Blvd., Holly- 
wood, Calif. B. P. Schulherg. Victor Schertzinger 
and Louis J. Gasnier Productions. 

PRIXCIPAL PICTURES CORPORATION, 1540 
Broadway. Xew York City: (s) 7200 Santa 
Monica Blvd., Los Angeles, Calif. Baby Peggy 
Productions. 

ROTHACKER FILM MFC;. COMPAXY. 1339 
Diversey Parkway, Chicago, Illinois: Rothacker- 
Aller Laboratories, Inc., Hollywood, Calif. 

UNITED ARTISTS CORPORATION', 729 Seventh 
Avenue, Xew Y'ork City. 

George Arliss Productions, Distinctive Prod., 
366 Madison Avenue. New Y'ork City. 

Re\ Beach Productions. United Artists Corp., 
729 Seventh Avenue. Xew Y'ork City. 

Charlie Chaplin studios. 1410 LaBrea Ave., 
Hollywood. Calif. 

D. W. Griffith Studios, Orienta Point. Mamar- 
oneck, X*. Y. 

Pickford-Fairlwnks Studios. 7100 Santa 
Monica Blvd., Hollywood. Mary Pick- 
ford. Douglas Fairbanks, and Jack 
Plckford. 

UNIVERSAL FILM MFG. COMPANY, 1600 
Broadway. New Y'ork City: (s) Universal City. 
Calif. 

Century Comedies, Circle Blvd., Hollywood. 

VITAGRAPH COMPAX'Y OF AMERICA. (si 
Bast 15th Street and Locust Avenue. Brooklyn. 
Xew Y'ork; (s) 170S Talmadge Street. Hollywood, 

com. 

WARXER BROTHERS. 1000 Broadway. New York 
City: (si Sunset Blvd. at Bronson, Los Angeles. 




[ CONTINUED FROM PAGE 8 ] 



FLAMING YOUTH— First National— A sophis- 
ticated ultra-jazz picture, with Colleen Moore doing 
about the best acting of her career. (January.) 

FLAPPER WIVES— Selznick.— The faith-healing 
theme, with nothing new in the story. Fair. (June.) 

FLOWING GOLD— First National.— Rex Beach 
melodrama of the oil- fields, full of excitement and 
thrills. Film entertainment for everyone. (May.) 

FOOLISH PARENTS— Associated Exhibitors.— 

The moral of this is that marriage is a great institu- 
tion and should be in every family. (January.) 

FOOL'S AWAKENING, A— Metro.— Proves that 
happiness can't be built on a lie. A picture of the 
better class. (April.) 

FOOL'S HIGHWAY— Universal.— A story of the 
Bowery, excellently done. Characters well drawn 
and piayed, with Mary Philbin heading the list. 
Good entertainment. (May.) 

FORBIDDEN LOVER, THE — Selznick. — A 
"thriller" of the early Spanish days in California 
with the usual ingredients. (January.) 

GALLOPING ACE, THE— Universal.— A Jack 
Hoxie Western, with Jack doing some of his best rid- 
ing and heroic deeds. (June.) 

GALLOPING FISH, THE— First National.— 
Trained seal supported by Louise Fazenda and Sydney 
Chaplin. Slapstick, but funny. (June.) 

GALLOPING GALLAGHER— F. B. O— An 

amateurish Western, Fred Thomson being the re- 
deeming feature. Comedy is awful. (June.) 

GAMBLING WIVES— Arrow.— An amazing con- 
glomeration of fast house parties, cabarets and 
gambling rooms. Just usual. (June.) 

GIRL SHY— Pathe.— All the laughs and all the 
thrills that one expects in a Harold Lloyd picture. 
Fun fast and furious from start. (June.) 

GOVERNOR'S LADY, THE— Fox— A most ap- 
pealing picture, at times touching greatness. Pathos 
well done. (March.) 

GREAT WHITE WAY, THE— Cosmopolitan.— 
Well worth the money. A personally conducted tour 
of New York, well acted. (March.) 

GRIT — Hodkinson. — Glenn Hunter in a play of 
gangsters and the underworld. Not new, but fairly 
interesting. (March.) 

IIALF-A-DOLLAR BILL— Metro.— Interesting 
and well played story of waif adopted by a sea 
captain. (February.) 

HAPPINESS — Metro. — A very thin story, adapt- 
ed from J. Hartley Manners' play, with Laurette 
Taylor as the saving grace. For the family. (May.) 

HEART BANDIT. THE— Metro.— Viola Dana is 
good as a tough little crook who is later redeemed by 
mother love. (March.) 

HELD TO ANSWER— Metro.— A formula pic- 
ture, featuring a wrongfully-accused minister. (Jan.) 

HER REPUTATION— First National.— A flood, 
a forest fire and a persecuted heroine, all good. Plenty 
of thrills. (March.) 

HER TEMPORARY HUSBAND— First National. 
— A riotous comedy, full of laughs. (February.) 

HERITAGE OF THE DESERT, THE— Para- 
mount. — A Zane Grey story, as good as all his 
Westerns are. Ernest Torrence best of the cast as 
usual. (April.) 

HILL BILLY, THE— United Artists.— Jack Pick- 
ford in a truly appealing role. His best picture in a 
long time. (June.) 

HIS CHILDREN'S CHILDREN— Paramount.— 

Another lesson about the fast-stepping younger gen- 
eration. Well wortli while. (January.) 

HIS DARKER SELF— Hodkinson.— Framed orig- 
inally for Al Jolson and done by Lloyd Hamilton, it 
proves Jolson should have done it. (June.) 

HIS FORGOTTEN WIFE— F. B. O— The third 
of the Palmer prize pictures, and up to the standard 
of the others. The war is in this one. (June.) 

HIS MYSTERY GIRL— Universal.— The old 
story of a serious man who gets a little lesson in 
romance. Herbert Rawlinson is good. (March.) 

HOODMAN BLIND— Fox.— An oldstage favorite 
made into a most entertaining picture. Melodrama 
with ideas. (March.) 

HOOK AND LADDER— Universal.— Hoot Gib- 
son as a fireman, with a pretty love story and lots 
of comedy. Family picture. (March.) 



HOOSIER SCHOOLMASTER, THE— Hodkin- 
son. — A worthy effort to picturize an old best-seller, 
but it's rather too slow. (June.) 

HUMMING BIRD, THE — Paramount. — The 
best thing Gloria Swanson ever has done. One of the 
best pictures of months. (April.) 

ICEBOUND— Paramount.— Another William de 
Mille etching. Restraint is the keynote. Handled 
by a less able director, it might have been drab, but 
he makes it live. (May.) 

INNOCENCE — Apollo. — An ineffective melo- 
drama with Anna Q. Nilsson as a redeeming feature. 
(March.) 

IN SEARCH OF A THRILL— Metro.— Viola 

Dana as a little rich girl wants to see life and becomes 
an Apache in Paris. (January.) 

IN THE PALACE OF THE KING— Goldwyn.— 
A good story, beautifully mounted but carelessly told. 
Direction not good. (February.) 

JACK O' CLUBS— Universal.— Lots of trouble 

for no reason, except to be photographed. (April.) 

JEALOUS HUSBANDS— First National.— Ordi- 
nary, with the only outstanding feature the work of 
Jane Novak. (April.) 

JUDGMENT OF THE STORM— F. B. O— The 

Palmer School's prize photoplay, very interesting and 
with a charming love story. (March.) 

JUST OFF BROADWAY— Fox.— A swiftly mov- 
ing crook drama, with plenty of thrills and excite- 
ment. (April.) 

KENTUCKY DAYS— Fox.— Old Kentucky again 
with "Covered Wagon" trimmings. Just fair. (May.) 

KING OF WILD HORSES— Pathe.— A remark- 
able picture because of the work of the camera man. 
Shots of wild horses never equalled. The Black a 
worthy star. (June.) 

LADIES TO BOARD.— A Tom Mix comedy, with 
Tonyadded. Mix pullsa lot of his best stunts. (April.) 

LADY OF QUALITY, A— Universal.— A charm- 
ing story, excellently played by Virginia Valli and 
capable cast. (February.) 

LAW FORBIDS. THE— Universal.— Again Baby 
Peggy, to whose talents the story has been sub- 
ordinated. A pretty good picture, too. (May.) ■ 

LEAVE IT TO GERRY— Ben Wilson.— A mild 
juvenile comedy, which is amusing and innocuous. 
Boarding school scenes are good. (May.) 

LEAVENWORTH CASE, THE— Vitagraph.— A 
poor adaptation of a famous old best-seller. A mys- 
tery story without mystery. (January.) 

LET NOT MAN PUT ASUNDER— Vitagraph.— 
One of the worst ever made. (April.) 

LIGHT THAT FAILED, THE— Paramount.— 
In spite of the liberties taken with Kipling, a good 
picture, excellently acted. (February.) 

LILIES OF THE FIELD— First National.— A 
story of the sisterhood that "toil not, neither do they 
spin," with Corinne Griffith as the feature. For 
adults. (May.) 

LONE RANGER, THE— Aywon— Again the 
Texas Ranger is sent to get his man and gets him. 
(January.) 

LONE WAGON, THE— Sanford.— If it hadn't 
been for the "Covered Wagon," this wouldn't have 
been made. Who cares? (May.) 

LONG LIVE THE KING— Metro.— The King is 
Jackie Coogan and this is one of the best things he 
ever has done. (January.) 

LOVE LETTERS— Fox.— The moral is. don't 
pour out your troubles on paper. Two sisters get 
into all sorts of woes, but few care. (May.) 

LOVE MASTER. THE— First National.— Strong- 
heart is the star, and Mrs. Strongheart the leading 
woman. The others and the story are not so much. 
(March.) 

LOVE'S WHIRLPOOL— Hodkinson.— A crook 
story of the better sort, with James Kirkwood and 
Lila Lee. Plenty of thrills and holds the interest 
always. (May.) 

LOVING LIES — Allied Producers. — Mediocre, in 
spite of Monte Blue and Evelyn Brent. (April.) 

LUCRETIA LOMBARD— Warner Brothers.— A 
good story, but the picture seems flat. Irene Rich 
scores, as does a forest fire. (March.) 

LULLABY, THE— F. B. O.— Jane Novak's best 
picture. She plays three roles and is excellent in 
each. (March.) 

[ CONTINUED ON" PAGE 14 1 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Se< n"\ i i 



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My labor is prodigious. My prices are high. Yet I keep on writing. Why.' 
— Emerson Hough did the same until he died. Gene Stratton-Porter, James Name. 

Oliver Curwood. Henry Van Dyke atid others are all lifting their voices, using 
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When you write lo advertisers please mention l'HOTOI'l.AY ItAQAZIXS. 



An Eye Opener 

Baltimore, Md. 
Ramon forever — and "Tennessee" will have 
an eye opener when our Rudy comes along in 
his new picture! No one can cut out our favor- 
ite over night. Valentino may have his faults 
but we in Baltimore admire him to the last. 
Figures show how well he stand 1 :. 

W. L. Bush. 

Kid Stuff 

Garrison, Md. 

This is a very large bouquet for Ben Alex- 
ander. I am wild about him. I have seen him 
in three movies, "Penrod and Sam," "Boy of 
Mine," and "Jealous Husbands." He is the 
best kid actor on the screen, J. Coogan ex- 
cluded. 

A word for poor "Wes" Barry. Why do the 
directors insist on making him an Alger boy? 
Can they not do something besides making him 
a poor boy who captures a criminal and be- 
comes rich? 

David R. W. Harrison. 

As a Spanish Dancer 

Great Falls, Mont. 

I would like to know why Mary Pickford's 
"Rosita" received so much praise and Pola 
Negri's "Spanish Dancer" was regarded as 
just another movie? 

Of course, Miss Pickford had Ernst Lubitsch, 
a skilled director, but as a Spanish girl she was 
still Maty Pickford dressed in Spanish cos- 
tumes. I hold no dislike for Mary, in fact I 
consider her one of the screen's greatest per- 
sonages, but never once did she suggest a fiery 
street singer. As for Pola, there was a real 
Spaniard! I had no trouble understanding her 
popularity at the carnival and with the royal 
gentlemen. Tony Moreno was a lovable Don 
Caesar. 

L. SORLE WlLLARD. 

May in Java 

Semarang, Java. 
s Being a faithful and enthusiastic reader of 
your exceptionally interesting magazine, I 
venture to ask you whether you can not make 
such arrangements in future that readers in far 
off countries, as, for instance, me, get a chance 
to compete in your contests. 

I was anxiously awaiting the January 
number with the sixty screen beauties, and 
when it arrived hereon the 2nd inst. I naturally 
was very disappointed to see that votes had to 
be sent in before the first of this month. 

MISS MAY MacAVOY 
in my eyes, shows — what you yourself 
call so justly — "inward lowliness ranking with 
harmony of features." 

I still beg to observe that to my astonish- 
ment (and also regret) I missed in your gallery 
a photograph of Leatrice Joy. This does not 
mean, however, that I would have given my 
vote to her, because, although I like her coun- 
tenance very much indeed, I think her always 
laughing eyes betray too much naughtiness, and 
this is something I would not give my vote to 
in this special contest. But please do not tell 
her! 

Looking forward to more such interesting 
contests and — if possible — to your compliance 
with my request, I am, 

May MacAvoy Fan. 

Lovable Loving 

Atlanta, Ga. 
After seeing last night my favorite actor, 
Conway Tearle, in his latest picture, " Lilies of 
th>; Field," please let me say a word of praise 
for him and his most able and charming leading 
lady, Corinne Griffith. All the world loves a 
lover, and to my mind this is the most lovable 
pair of lovers on the screen. 

Minnie Lee. 



12 



Brickbats 
Bouquets 

LETTERS 
FROM READERS 



The readers of Photoplay are 
invited to write this department 
— to register complaints or com- 
pliments — to tell just what they 
think of pictures and players. 
We suggest that you express your 
ideas as briefly as possible and 
refrain from severe personal crit- 
icism, remembering that the 
object of these columns is to ex- 
change thoughts that may bring 
about better pictures and better 
acting. Be constructive. We may 
not agree with the sentiments ex- 
pressed, but we'll publish them 
just the same! Letters should not 
exceed 200 words and should bear 
thewriter'sf till name and address. 



Mae's Best 

Mount Vernon, N. Y. 
I noticed in March Photoplay Magazine, 
M. S. Jacobs' remarks about Mae Murray not 
being able to act. I wonder if he saw her in 
"Fashion Row"? If so, he could not make 
that statement. 

G. H. 

Eric's Other Role 

Los Angeles, Cal. 
Many persons must be wondering, as I am, 
if Erich von Stroheim is ever going to return to 
the screen. I consider him one of the foremost 
actors appearing before the camera. 

C. T. 

Still Faithful 

Indianapolis, Ind. 
Your April issue of Photoplay was very 
good, especially your article "What Kind of 
Men Attract Women Most," which gave 
praise to the late Wally Reid. Any articles on 
Wally Reid will surely be appreciated by the 
sender of this letter. 

" A Reader of Photoplay." 

From Beacon Street 

Boston, Mass. 

As the spokeswoman for a movie club may I 
ask if Photoplay will give us more about 
Monte Blue. His splendid work in "The 
Marriage Circle," sustaining the difficult part 
of a bewildered and harassed man, between a 
hard-boiled husband and a spicy wise owl of a 
friend, was to our mature minds a wonderful 
rendering. There was such a chance for over- 
acting! 

Not the least of his attractiveness is his 
ability to handle his bigness gracefully and 
easily, and to wear his clothes like a real man 
and not a tailor's dummy. 

Mrs. G. J. Prescott. 



Our Finest Actress 

This is entirely in praise of Gloria Swanson, 
who, to me, is our finest actress. I think she 
has received many unjust criticisms. She has 
proved her worth in "The Humming Bird" 
and in "A Society Scandal." 

D. Gloman. 

Finished and Fascinating 

New York City. 
The picture "The Marriage Circle" is un- 
doubtedly one of the greatest successes of 
years. Mr. Menjou is perhaps the most fin- 
ished, fascinating actor on the screen today. 
We sincerely hope to see more of him . I should 
think, as many others do, that a picture star- 
ring him, wherein he was shown oftener, would 
make a great appeal. 

Geraldine Peyton. 

Handsomest of All! 

Sydney, Aus. 
I think Antonio Moreno and Charles de 
Roche are the most handsome and fascinating 
men on the screen. 

M. Rod. 

Sad News 

Saint Davids, Pa. 

Oh me, oh my! What terrible news our 
friend, Adela Rogers St. Johns, has just im- 
parted to us. Our beloved Rudolph has a flat 
nose, large mouth, and small eyes. Isn't it 
strange that, as often as I have seen him on and 
off the screen, I have never noticed these 
attributes? 

Our good friends Thomas Meighan, Douglas 
Fairbanks and William Hart are not handsome. 
I am afraid we will have to revise all our stand- 
ards. We have always thought our Thomas a 
most exceedingly handsome man. 

We wonder how M rs. St. Johns would advise 
gauging our standards? Ben Turpin or Larry 
Semon? We hope we aren't too old to learn. 

We really wish Mrs. St. Johns had been 
kinder to the first named stars in her article, 
"What Kind of Men Attract Women Most." 
Noemie Webre. 

Speaking of J. R. Q. 

New York City. 

Speaking of pictures, I think that James R. 
Quirk's editorial in the April issue is the best 
I've read in a decade. His style and truthful 
though caustic comments do more to make this 
magazine a true representative of the greatest 
industry in the world. 

I'm certain that Mr. Quirk has the "courage" 
that Sir James M. Barrie spoke of when he 
said: "And he is dead who will not fight; and 
who dies fighting has increase!" 

F. Joseph Kenedy. 

Cynical Conway 

Providence, R. I. 

While reading the letters from fans in April 
Photoplay I was amused by the hysterical 
remarks of a certain New York City fan. She 
referred to Conway Tearle as not caring who 
he loves, nor how many in one evening. 

Now I have seen all of Mr. Tearle's pictures, 
and as he invariably portrays the cynical 
bachelor, or woman hater, with the exception 
of his role in "Bella Donna," I would like to 
know how the lady "gets that way." 

Gertrude Field. 

Nita's Style 

Montclair, N. J. 

Nita Naldi "takes the cake." I have always 

been impressed with the fact that Miss Naldi 

has brains to spare, and her "story that even' 

wife should read" proves it. I should say that 

[ continued on page 14 ] 



Photoplay Magazine — Advertising Section 



13 



% 



k^ 



Published monthly 
by First National 
Pictures, 383 Madi- 
son Ave., N. Y. C. 



J. A. Lincoln, Editor 



sT- 




mk fteft; 



An Advertisement from 



rtT 




X 



An organization of 
theatre- owner* 
presenting the fi- 
nest in screen en- 
tertainment . 



Filming a Prairie Fire 

TWO location trips were necessary to 
film the big ranch scenes in "Sun- 
down." First into Mexico, where thecom- 
pany built themselves a crude camp, and 
then in western Texas 
to film a prairie fire. 
Bessie Love, in the 
leading feminine role, 
found herself the lone 
woman among cow- 
boys, cameramen and 
actors. 

" S 11 ndown " has 
been six months in the 
making, but to film 
such a story time and 
patience is necessary. 
Watch for it in the list of forthcoming 
attractions at your local theatre. 

'The Perfect Flapper" 

AS "The Perfect Flapper" makes her 
smile and bow this month in the lead- 
ing theatres of the land some hundreds of 
thousands of fans say "pleased to meet 
you " with all the sincerity in their heart. 
Colleen Moore is her most delectable self 
in the title role and the supporting cast — 
Frank Mayo, Sydney Chaplin, Phyllis 
Haver and Marv Carr! 



"A Self Made Failure" 



< 



T K. Mel 
J . title fc 




Bessie Love 



w 



•DONALD has found himself a 
for his next picture which will 
teat ure young Hen Alexander. It is "A 
Self Made Failure" and the laughs and a 
few tears blend together in a way that 
spells Entertainment. The locale is a 
little country town, and lien's running 
mate is none other than the inimitable 
Lloyd Hamilton, metamorphosed from 
a tramp into a health expert and 
masseure. 

Besides there is Vic Potel, Dan 
Mason of "Toonerville Trolley" 
fame, Chuck Reisner, Patsy Ruth 
Miller as the girl, Matt Moore, 
and Mary Carr — who else could 
play it? — as the kindly old 
grandmother. 

Comedy drama, 'tis said, is 
the most difficult type of story 
to film, but McDonald, with 
William Beaudinc directing, has 
taken a master's degree. Re- 
member " Penrod and Sam " and 
"Boy of Mine"? 

First National theatres wi 
show this picture during the 
present month. Pictures such as 
these made monotony a relic of 
the past generation. 



Melodrama Ultra-Modern 

HA\ E >ou been wondering, along with 
countless others, when BlancheSweel 
— she of the lissome figure and mellow 
eyes — would be seen again on the m reen? 
It is several months Bince Bhe starred in 
"Anna Christie," but now 

at last she appears in another 

Thomas II. Ince production 
"Those \\ ho Dance." 



I 



* 




This, for variel j , is melo- 
drama. The kind of melo- 
drama that whirls one .it 
breakneck pate into the 
depths of the underworld, a 

land of men and women 

with distincl laws, theii 

own leaders, .ind strange 
philosophy. The dark and 
sordid side () f bootlegging 
provides an unique theme 

for a motion picture and 

line h,is made the mosi 
of it. Bessie Love, War- 
ner Baxter and Re 
Agnew are see,, j n prom- 
inent roles in rapport of 
Mi~s Sweet . 

"Cytherea" 

»/"%NE of the most talked 
V-J of fc. nines of "( \ lli- 
erea," which is now being 
shown t hroughout t he 
country, is the remarkable 
color photography in three 
parts of the story. It adds 
a lot to the powerful 
romance. 

As every movie fan 

kn OWS by. this t i me 
"Cytherea " was the name 
of an ancient love goddess 

and Joseph Hergesheim- 

er's story shows that her 
influence has not waned 
through the rent uric-. 
Samuel Gold wyn •'not now 
connected with Goldwyn 
Pictures) produced it and 
('. eorge Fit zmaur ice- 
directed. It is a modern 
society drama, lavishly 
staged. Lewis Stone and 
Alma Rubens head the 

cist. 



His financial standing established, the suitor makes 
final arrangements. On the right is Claire Windsor 
as the prize offering in the matrimonial market. 
The picture is "For Sale," a society drama your 
local theatre will show soon. 



Colleen Moore (on the left) alone could play the title 
role in "The Perfect Flapper." There's an unfailing 
perfection recipe in this delightful comedy drama. 




=J 



When you write to advertisers please mention FHOTOFLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



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Brickbats and Bouquets 



CONTINUED FROM PAGE 12 



-State- 



All correspondence strictly confidential 



Miss Naldi has left nothing out; her hints are 
invaluable. 

Congratulations, Miss Naldi — your style is 
like yourself! My admiration of you is un- 
bounded and I hope to meet you sometime, 
somewhere. 

Julia Roe Davis. 

Unreal Reels 

Princeton, N. J. 
Two or three pioneers have shown the way, 
notably Charlie Chaplin with his "A Woman of 
Paris," but most producers still fight shy of a 
strong and consistent plot, and insist on per- 
fect heroes and happy endings. One of these, 
writing in a personal vein in his advertise- 
ments, says: "I never could understand why 
such a story turned out unhappily, etc. I 
don't like death scenes, I don't like to see the 
hero shot or hanged, or the heroine die in the 
arms of her lover when they can just as well 
live and send you home with pleasant impres- 
sions and memories." 

R. H. 



So Do Wet 



Lexington, Mass. 
In the April number of Photoplay I read a 
short paragraph in an otherwise interesting 
article with which I strongly disagree. The 
statement was made that certainly their most 
ardent admirers could not call Bill Hart, Doug 
Fairbanks and Tommy Meighan handsome. 
Now, I am, and long have been, an ardent ad- 
mirer of Tommy Meighan and I consider him 
one of the handsomest of screen stars. 

Claire Ball. 

An Outstanding Feature 

Reward, Calif. 
I have just finished a good meal. That is 
reading Photoplay Magazine. I always read 
the magazine from cover to cover, but the most 
outstanding feature that ever existed in any 
magazine is the article on Home Decorations 
by William J. Moll. 

Melvin Black. 



Brief Reviews of Current Pictures 



[ continued from page io^ 



MAILMAN, THE— F. B. O.— More propaganda 
for trie letter carrier. Interesting and very much for 
the family. (February.) 

MAN FROM BRODNEY'S, THE— Vitagraph.— 
Wildly improbable, but also wildly exciting and, 
therefore, good entertainment. (February.) 

MAN FROM WYOMING, THE— Universal.— A 
roaring Western, with Jack Hoxie as the blustering 
hero. (April.) 

MAN LIFE PASSED BY, THE — Metro. — 
Another interesting interpretation by Percy Marmont 
of one of the lovable failures he does so well. (March.) 

MAN'S MATE, A — Fox. — John Gilbert and Renee 
Adoree do their best, but the result is pretty bad. 
(June.) 

MARRIAGE CIRCLE, THE— Warner Brothers. 
— A masterpiece of direction by Lubitsch which 
results in a strikingly amusing comedy, admirably 
acted. (April.) 

MARTYR TRAIL, THE— Capital.— What one 
brutal man can't do to two poor females! But regen- 
eration of the wicked and sunshine follow. (June.) 

MASK OF LOPEZ, THE— Monogram.— Another 
Western of the usual type. (February.) 

MAYTIME — Preferred. — The camera doesn't 
help this dainty musical play. (February.) 

MEN IN THE RAW— Universal.— A formula pic- 
ture. Heart-of-gold cowboy, "little prairie flower," 
cattle rustlers. Jack Hoxie rides well. (January.) 

MILE-A-MINUTE MORGAN— Sanford.—" Just 
another movie" and about as poor as possible. (June.) 

MILE-A-MINUTE ROMEO— Fox.— Tom Mix 

again — dauntless as ever — and, with the help of Tony, 
just as entertaining. (June.) 

MILLION TO BURN, A— Universal.— An amus- 
ing picture without much probability. (January.) 

MIRACLE MAKERS, THE— Asso. Exhibitors.— 
The pure-heroine-and-Chinese-den formula. (Feb.) 

MODERN MATRIMONY— Select.— A common- 
place plot filled with homely sentiment. Just in- 
nocuous. (January.) 

MONKEY'S PAW, THE— Selznick.— An intelli- 
gent piece of work by a producer who has a real idea 
and who sticks to it, thereby deserving praise. Worth 
seeing. (January.) 

MORAL SINNER, THE— Paramount.— Screen 
version of "Leah Kleschna" makes a rather mediocre 
crook drama. (June.) 

MRS. DANE'S CONFESSION— F. B. O.— An 

old picture revived because of the notoriety of Count 
Salm, who is in it. (May.) 

MY MAN — Vitagraph. — Dustin Farnum as a cave 
man political boss. Just passable. (April.) 

NAME THE MAN— Goldwyn — A Hall Caine 
story with the long arm of coincidence stretched out 
of shape. (February.) 



NEAR LADY, THE— Universal.— Poor comedy, 
with the titles the poorest. (February.) 

NELLIE, THE BEAUTIFUL CLOAK MODEL— 

Goldwyn. — An old thriller, done with a sense of 
humor which makes it well worth while. (April.) 

NET, THE— Fox.— If you like Bertha M. Clay 
novels, you might see this one. (April.) 

NEXT CORNER, THE— Paramount.— Not so 
good. Direction is bad and picture drags. (April.) 

NIGHT HAWK, THE — Hodkinson. — Harry 
Carey at his best in a Western drama with plenty of 
plot and riding. (June.) 

NIGHT MESSAGE, THE— Universal.— Melo- 
drama based on a Southern family feud. Also, pretty 
well done. (June.) 

NO MORE WOMEN— Allied Producers.— All 
right if you've nothing else to do. (April). 

NO MOTHER TO GUIDE HER— Fox.— If you 

like melodrama, this will please you. Genevieve 
Tobin as a sort of perfect specimen. (May.) 

NORTH OF HUDSON BAY— Fox.— An excellent 
story of the Far North, with Tom Mix as hero. Filled 
with thrills and well worth seeing. (April.) 

NORTH OF NEVADA— F. B. O.— An old story 
with good Western stuff in it — the fight on the cliff 
and other sure-fire features. (May.) 

OLD FOOL, THE— Hodkinson.— Starts with a 
good idea, but loses it in favor of conventional crook 
story. (March.) 

ON THE BANKS OF THE WABASH— Vita- 
graph. — A fine cast miscast and wasted on a weak 
plot and poor direction. (January.) 

ON TIME— Truart. — Richard Talmadge doing 
athletic stunts around a very poor story. (May.) 

OTHER MEN'S DAUGHTERS — Apollo. — A 
sporty father meets Ills daughter at a swift party, but 
all ends happily. (March.) 

OUR HOSPITALITY— Metro.— Buster Keaton 
in what seems to be a travesty on the old feud story. 
Not very good or funny. (January.) 

PAGAN PASSION— Selznick.— Starts well, but 
gets off the track and becomes tiresome. (June.) 

PAINTED PEOPLE — First National. — A story of 
a small town girl who becomes a real somebody. 
Colleen Moore's work excellent. (April.) 

PHANTOM JUSTICE — F. B. O. — Rod La 

Rocque with a toothache in a weird and wild melo- 
drama. (March.) 

PHANTOM RIDER, THE— Universal.— Jack 
Hoxie in the kind that has made him popular. His 
riding is worth the price. A very good Western. (May.) 

PIED PIPER MALONE — Paramount. — Tom 
Meighan's new one and as likable as Tom himself 
Simple and charming. (Abril.) 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Sa noN 



PIONEER TRAILS— Vitagraph.— Imitation of 
"The Covered Wagon" witliout tlic virtues of that 
record-breaker. (February.) 



PLEASURE MAD— Metro.- 
big picture, but is worth while. 



■Just misses being a 
(January.) 



POISONED PARADISE — Preferred. — Again 
someone tries to break the bank at Monte Carlo, but 
Clara Bow is the only winner, getting the boy she 
loves. Formula. (May.) 

PREPARED TO DIE— Johnnie Walker.— A good 
idea gone wrong, except for Eddie Polo. (March.) 

PRINCE OF A KING, A— Selznick.— Little 
Dinky Dean is the star and all children and most 
grown-ups will like it. (March.) 

PURE GRIT— Universal.— The Western formula, 
with Roy Stewart heading the east. (March.) 



RED WARNING, THE— Universal.— Even Jack 
lloxie gets out of breath keeping up with the story in 
this thriller. (February.) 

RENDEZVOUS, THE— Neilan-Goldwyn. — The 
love story of an American soldier and a Russian prin- 
cess, delightfully produced by Marshall Neilan. 
(March.) 

RENO — Goldwyn. — Rupert Hughes' argument for 
a uniform divorce law. Interesting for adults. 
(March.) 

RESTLESS WIVES — Commonwealth. — Hard- 
working husbands, bridge-playing wives and other 
conventionalities. (March.) 

RICHARD THE LION-HEARTED— Associated 

Exhibitors. — Wallace Beery is a two-fisted, meat-eat- 
ing King Richard. The boys will love it. (January.) 

RIDE FOR YOUR LIFE— Universal.— And Hoot 
Gibson does — for his own and other lives. There's 
little else to it. {May.) 

ROUGH RIDIN'— Approved.— Just a regular 
Western with lots of action and little novelty. (June.) 

ROULETTE — Selznick. — The perils of the gaming 
table again, but with a good cast. Nothing to get 
excited about. (May.) 

SATIN GIRL, THE— Apollo.— Lady crook fools 

the whole police force, as usual. (February.) 

SECRETS— First National.— A charming picture, 
with Norma Talmadge as star. Don't miss it. (April.) 

SECOND YOUTH— Goldwyn.— A comedy that, 
instead of being funny, is ludicrous. Just bad, that's 
all. (June.) 

SHADOWS OF PARIS— Paramount.— Pola Negri 
as an Apache — one of the types she does so well. 
Well directed with good atmosphere. Worth seeing. 
(May.) 

SHEPHERD KING.THE— Fox.— An interesting 
story of David the Psalmist, done by a capable 
Italian company. (February.) 

SHOOTING OF DAN McGREW, THE— Metro. 
— Only fair, and it should have been excellent, with 
such a theme and cast. (June.) 

SILENT STRANGER, THE— F. B. O.— The 

great open spaces, mail robbers, a handsome stranger, 
the poor girl and the rest. (June.) 

SINGER JIM McKEE — Paramount.— A typical 
Bill Hart picture which surely will please all his ad- 
mirers. (June.) 

SIX-CYLINDER LOVE— Fox.— A light and 
amusing comedy, well handled, with Ernest Truex 
doing excellent work. (February.) 

SLAVE OF DESIRE— Goldwyn.— Balzac's "The 
Magic Skin" in celluloid. Rather vague, but Bessie 
Love and Carmcl Myers are good. (February.) 

SOCIETY SCANDAL, A— Paramount.— Another 
surprise by Gloria Swanson. Totally different type 
from "The Humming Bird," but none the less well 
done. Well worth seeing. (May.) 

SONG OF LOVE, THE— First National.— Norma 
Talmadge as an Arab dancing girl and very much 
worth while seeing. (March.) 

SOUTH SEA LOVE— Fox.— Shirley Mason is 
good in a mediocre and unconvincing story. (Feb.) 

SPORTING YOUTH— Universal.— An auto rac- 
ing picture of the type Wally Reid used to do, with 
Reginald Denny as hero. Good entertainment. 
(April.) 

STEADFAST HEART, THE— Goldwyn. — Al- 
though the story is rather improbable, the capital 
acting of little Joseph Depew makes it worth while. 
(March:) 

[CONTINUED ON PAGE 1 6 ] 



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Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 1 5 ] 



STEPHEN STEPS OUT— Paramount.— The first 
and only picture of Douglas Fairbanks, Jr., for Para- 
mount. And pretty good at that. (.February.) 

STOLEN SECRETS— Universal.— Another crook 
drama with a pretty girl solving the mystery and 
reforming the chief crook. (May.) 

STORM DAUGHTER, THE— Universal— Pris- 
cilla Dean in an interesting and well-acted drama of 
the sea. The main fault is the too sudden ending. 
(June.) 

STRANGER FROM THE NORTH— Biltmore.— 
The only difference is that, in this one, the city feller 
makes good. (June.) 

STRANGER, THE— Paramount.— This picture 
starts slowly, but picks up and tells an absorbing 
story in direct and effective fashion. (April.) 

SUPREME TEST, THE— Renown.— The country 
boy in the wicked city, the mortgage on the farm and 
the rest. (March.) 

TELEPHONE GIRL, THE— F. B. O— A screen 
version of the slangy Witwer story, with Alberta 
Vaughn, a clever comedienne, as the fresh telephone 
operator. Amusing. (May.) 

TEMPLE OF VENUS, THE— Fox— A mixture of 
a lot of box-office drawing cards. Jazz, scantily clad 
nymphs, and a weak love story. (January.) 

TEN COMMANDMENTS, THE— Paramount.— 
One of the greatest pictures ever made. A wonderful 
entertainment and a marvelous sermon. The color 
prologue wondrously fine. (February.) 

THIEF OF BAGDAD, THE— United Artists — 
Doug Fairbanks' latest and greatest. A picture of 
magic and beauty. The Arabian Nights brought to 
life. Should be seen by everyone. (May.) 

THIS FREEDOM— Fox.— An English company, 
headed by Fay Compton, makes the Hutchinson 
story fairly entertaining. (February.) 

THREE MILES OUT — Kenna. — Madge Ken- 
nedy and a lot of rum pirates provide plenty of laughs. 
Good entertainment. (March.) 

THREE O'CLOCK IN THE MORNING— C. C. 

Burr. — Unconvincing story, with Constance Binney 
as a jazz-mad girl who dances beautifully. Not so 
much. (May.) 

THREE WEEKS— Goldwyn — A lavish picturiza- 
tion of Elinor Glyn's novel, with lovely settings. (Apr.) 

THRILL CHASER, THE— Universal. — Hoot 
Gibson goes to Hollywood and thence to Arabia, 
becoming a sheik. (February.) 

THROUGH THE DARK— Cosmopolitan.— A 
Boston Blackie crook story, dealing with the re- 
demption of a man through a woman's faith. — 
(March.) 

THUNDERGATE— First National.— Convention- 
al story with scenes in China. Owen Moore good. 
(March.) 

THY NAME IS WOMAN— Metro— A tragedy.told 
simply and effectively, with some beautiful sets and 
photography. Barbara La Marr excellent. (April.) 

TIGER ROSE— Warner Brothers.— Excellent 
adaptation of the stage play, with Lenore Ulric in her 
original role. (February.) 

TO THE LADIES— Paramount.— A joyous enter- 
tainment and — incidentally — Director James Cruze's 
fourth successive hit. (February.) 

TRAIL OF THE LAW, THE— Biltmore.— Old 
formula of country girl and city chap, and not well 
done. (April.) 

TRY AND GET IT— Hodkinson.— An impossible 
story, but with many laughs. Bryant Washburn and 
Billie Dove in cast. Good entertainment. (June.) 

TWENTY DOLLARS A WEEK— Selznick.— 
George Arliss in a comedy that is by no means worthy 
of him. A weak farce. (June.) 

TWENTY-ONE— First National.— The 1924 mod- 
el of Richard Barthelmess in an interesting, but not 
great, picture. (February.) 

TWO WAGONS, BOTH COVERED— Pathe.— 

One of Will Rogers' burlesques and a clever one. 
Great, if you've seen "The Covered Wagon." (April.) 

UNCENSORED MOVIES— Pathe.— Will Rogers 
impersonates a lot of other stars and isn't very funny. 
(February.) 

UNDER THE RED ROBE— Cosmopolitan.— A 
costume picture of the Louis XIII period, beautifully 
mounted and costumed, but a bit draggy. (January.) 



UNKNOWN PURPLE, THE — Truart. — Less 
thrilling than the stage version but nevertheless 
worth seeing if you like suspense. (February.) 

UNSEEING EYES— Cosmopolitan.— A splendid 
picture — if you like snow. (January.) 

VAGABOND TRAIL, THE— Fox.— Again The 

brawn of Buck Jones conquers all wickedness. (May.) 

VIRGINIAN, THE— Preferred.— Owen Wister's 
famous novel made into an exceptionally good West- 
ern. (January.) 

VIRTUOUS LIARS— Vitagraph — Good cast, but 
a conventional story and not very exciting. (June.) 

WANTERS, THE— First National.— Wealth, fine 
cloches. Fifth Avenue, and the moral that we don't al- 
ways want what we think we do. (June.) 

WATERFRONT WOLVES— Renown.— The title 

tells everything except how bad it is. (May.) 

WAY MEN LOVE, THE— Grand-Asher.— This 

picture starts well, but gradually dwindles. (January.) 

WEEK END HUSBANDS— F. B. O — The picture 
is weak at both ends and in the middle. (April.) 

WEST OF THE WATER TOWER— Paramount. 
— An exceptionally good picture, in spite of the 
cutting and changes, required by censorship. (March.) 

WHEN A MAN'S A MAN— First National.— A 
Harold Bell Wright story, well made. You will like it 
if you favor Westerns. (April.) 

WHEN ODDS ARE EVEN— Fox.— William Rus- 
sell wins the mine and the pretty girl again. (Feb.) 

WHICH SHALL IT BE— Hoffman.— A picturiza- 
tion of an old poem with real sentiment and heart 
appeal in it. Very much worth while. (June.) 

WHIPPING BOSS, THE— Monogram.— Based 
on the peonage system. Tells brutal truths but is 
unpleasant. (February.) 

WHISPERED NAME, THE— Universal.— Inter- 
esting and full of action, with Ruth Clifford doing 
excellently. (March.) 

WHITE SIN, THE— F. B. O— The second Palmer 
Photoplay story and well up to the standard of 
"Judgment of the Storm." Interesting throughout. 
(May.) 

WHITE TIGER— Universal.— A crook story with 
plenty of thrills and a conventional ending. (Feb.) 

WHY ELEPHANTS LEAVE HOME — Pathe. — 
Interesting film of trapping of elephants. (February.) 

WILD BILL HICKOK— Paramount. W. S. 

Hart's return to the screen in a picture filled with 
gunplay and other stunts his admirers like. (Feb.) 

WILD ORANGES— Goldwyn.— An interesting 
and gripping picture, based on Hergesheimer's weird 
story of fear. (March.) 

WINGS OF THE TURF— Fidelity.— A racing 
melodrama, brought from England, and as good as 
the usual home product. (April.) 

WOLF MAN, THE— Fox.— John Gilbert at his 
best in a Jekyl-and-Hyde sort of role. A bit grue- 
some at times, but with redemption at the end. (May.) 

WOMAN PROOF— Paramount. — Thomas Mei- 
ghan in a George Ade story, cut to fit and therefore 
entertaining. (January.) 

WOMAN TO WOMAN— Selznick.— Betty Comp- 
son, always charming, in a picture that grown-ups 
will like. (February.) 

WOMEN WHO GIVE— Metro.— A story of the 
sea and the fishing fleet. .Conventional, but interest- 
ing, with a good storm scene. (May.) 

YANKEE CONSUL, THE— Associated Exhibit- 
ors. — A remarkably fine comedy, with Douglas 
McLean as star. By no means miss this. (April.) 

YANKEE MADNESS— F. B. O.— Thin story, but 
lots of action in a Central American revolution. Good 
if you like excitement. (June.) 

YESTERDAY'S WIFE— Apollo.— Conventional 

triangle story with nothing new. (February.) 

YOLANDA — Cosmopolitan. — A gorgeous spec- 
tacle, beautifully staged, but with a weak story. 
Worth regular prices, but no more. (May.) 

YOU ARE IN DANGER — Commonwealth.— 
Good little country boy in big city. Doesn't tell nor 

mean much. (January.) 



Every advertisement iu PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Seci ion 



*7 



It Isn't the Original Cost of 
Bobbed Hair— It's the Upkeep 



A S soon as a girl makes the great 
decision of her life, and the shears 
have clipped off her tresses, she finds 
herself facing new problems. Unless 
she can adopt the straight boyish bob, 
the marcelling and permanent wave 
becomes a constant routine. And, 
goodness, how expensive it seems to be. 



r I MIEN what are you going to do 
with it when the swimming season 
begins? Next month Photoplay will 
give you the benefit of the best advice 
obtainable on the subject. It will tell 
you how to keep up the bob at 
least possible expense and suggest a 
score of ways you can save money. 



Photoplay for August— Out July 15 






oAmazing c ]S{ew oArt Portraits of Stars 



STARSOFTHE 

PHOTOPLAY 




ART PORTRAITS 

OP FAMOUS FILM FAVORITES 

WITH SHORT 

BIOGRAPHICAL SKETCHES 



I.' 1 "''".:] 



250 Favorites 

THE most beautiful and artistic 
book of art portraits of famous 
motion picture stars ever published. 
All the favorites in one book with 
short biographical sketches of their 
careers. The book is wonderfully 
printed in rotogravure on special 
paper and the portraits are the 
very latest and best of each star. 
The book is eight by eleven inches 
in size and contains 256 pages. 

Send for it today. Enclose check, 
money order or stamps for $1.75. 
If you are not delighted with it, 
simply return it and your money 
will be refunded immediately. 

PHOTOPLAY MAGAZINE 



750 N. Michigan Ave. 



CHICAGO, ILL. 









When you write to advertisers please mention PHOTOP1 w UAOAZIKK. 



i8 



Photoplay Magazine — Advertising Section 




woman is not self -conscious about a beautiful skin. It 
is when her complexion is unattractive, disfigured with 
ugly little defects, that she becomes self-conscious about it 
— awkward, constrained, unnatural. Keep your skin 
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It is easier than most women imagine 

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How to change a dull , sallow skin to 
one that is clear and full of color — 

Once or twice a week, just before retiring, 
fill your basin full of hot water — almost 
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Now lather a hot cloth -with Woodbury 's 
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Copyright, 1924, by The Andrew Jergens Co. 



THE ANDREW JERGENS CO. 

507 Spring Grove Ave., Cincinnati, Ohio 
For the enclosed 10 cents — Please send me a minia- 
ture set of the Woodbury skin preparations, 
containing: 

A trial size cake of Woodbury's Facial Soap 
A sample tube of Woodbury's Facial Cream 
A sample box of Woodbury's Facial Powder 
Together with the treatment booklet, "A Skin 
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Cut out this coupon atid send it to us today 



Every advertisement in THOTOPLAY MAGAZINE is guaranteed. 




Ed* in Bowet "■ m 



J\[ew 
(Pictures 



IT doesn't seem possible that this little school- 
girl, with the wide-open, innocent eyes, can he 
Clara Bow, the exasperating flapper in "Black Oxen." 
There is a wistfulness, an ingenuousness about Clara 
in this picture that is not of the flapper type 




w 




Russel Bull 



AS versatile in her personal appearance as in the roles she plays, Gloria Swanson 
l shows in this latest photograph the influence of her recent picture, "Manhandled. 
She looks younger with her boyish bob than with her more elaborate coiffures 




Edwin Bower Heseer 



ONE of the happy young married couples of the picture world— Mr. and Mrs. Jack 
Pickford. Mrs. Pickford, who was Manlynn Miller and one of the daintiest and most 
graceful dancers of the stage, is planning to devote her time hereafter to the screen 




Clarence Bull 



WHEN they finally settle on Kathleen Key's screen personality, she will be ready 
for electric lights. Now she's in Rome, playing the role of Tirzah in the long' 
awaited "Ben Hur.' That seems to fit her and it will be interesting to see the result 



K'lwin Bower Heaver 



HERE is the real Alma Rubens — distinctly smart in dress and even more beautiful 
than on the screen. She seems a long way from the type of the exotic Savma 
Grove, her role in "Cytherea," which only goes to prove her exceptional ability as an actress 







* v » »I* 






WHEN the Wampas announced its list of "Baby Stars" for 1924, William Fox reached 
out and picked Manan Nixon. She came East and she looked just as great a 
prize here as she did in the West, so now she is leading woman for "Buck' Jones 




LILLIAN RICH has a quality that is even more prominent than her great ability as an 
J actress. She is one of the best-liked girls in Hollywood— popular even with her rivals. 
Asa result of both traits, she is always busy, being now in the cast of "Never Say Die" 




should not be washed by 

caterpillar methods 



THERE was a time when, 
withoutsecond thought, 
one could "toss into the 
general wash" stockings, 
underwear, nightgowns, 
shirtwaists, skirts — prac- 
tically one's whole ward- 
robe. 

But that was the age of 
lisle, muslin and duck. In 
this day of lovely silks and 
delicate woolens, one's gar- 
ments shrink and fade al- 
most at the very thought of 
the general wash ! 
New fashions in clothes 
have brought a need for 
new washing methods. 

Soagentle squeezing in mild, 
safe Ivory suds as soon as pos- 
sible after che garment has 
become soiled has replaced 

) 1924, by The ProcUr ft Gambia Co.. Cincinnati 



the old-fashioned practice of 
letting one's personal gar- 
ments pile up in a damp, 
dark hamper, and then wash- 
ing them by soaking-rub- 
bing-boiling. 

And how long one's dainty 
modern garments do last when 
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indeed, as the heavy cottons 
of old. 

Ivory suds, quickly made from 
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soap, are as harmless to filmy, 
delicately tinted silk, and to 
soft fluffy woolens, as pure 
water itself. For Ivory is pure! 
So pure and gentle that mil- 
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tection of their complexions. 

If you have a laundress, by all 
means see that she adopts the 
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delicate things. If you prefer 
to insure their safetyby washing 



them yourself, you will find the 
Ivory suds method easy, quick 
and pleasant. There are full 
directions on the- Ivory Flakes 
box. Perhaps you will let us 
send you the booklet offered 
elsewhere on this page. 

Why not have all your washing 
done with Ivory? Lots of fam- 
ilies do, because it makes their 
clothes white-clean, and 
sweeter-smelling than when or- 
dinary laundry soap is used. 
The cost is very little more. 

PROCTER & GAMBLE 



I 



9 9 4 Moo% PURE 







A conclusive 

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It is easy to determine whethei 
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• Would I us. this 
soap mi my face? " 

In the case of Ivory and Ivory 
Flakes, your answer is instantly 
"Yes," because you know that 
for forty-five years women have 
protected lovely complexions 
by the use of Ivory Soap. 



5 Hints 

for the safe handling of 

Silks and Woolens 

Silk stockings should bewashed 
in Ivory suds before the first 
wearing, and after each wear- 
ing. The acids of perspiration 
quickly injure silk. 

* * * 

If stockings have clocks differ- 
ent in color from the body 
fabric, be sure to stuff cheese- 
cloth or a small towel into the 
ankle while drying. 

* * * 

Iron dotted Swiss and embroid- 
ered fabrics on wrong side over 

thick pad. 

* * * 

Never rub, wring or twist a 
woolen sweater. When wash- 
ing, squeeze the Ivory suds 
through the fabric repeatedly; 
rinse by squeezing; dry by lay- 
ing on a towel in the shade. 

* * * 

Too hot an iron will rot silk. 
If the iron makes paper smoke, 
it is too hot. 



Let us send yon a 

Free Sample of Ivory Flakes 

It will give us great pleas- 
ure to send you a generous 
sample of Ivory Flakes 
without charge, and our 
beautifully illustrated book- 
let, "The Care of Lovely 
Garments," a veritable en- 
cyclopaedia of laundering 
information. A request by 
mail will bring a prompt 
response. Address Procter 
& Gamble, Dept. 4-5-GF, 
Cincinnati, Ohio. 



Y 



ATS 



Volume XXVI 



The a I\[ational Quide to ^Motion Pictures 



Number Two 



rmoi: MARK' 



PHOTOPLAY 



July, 1924 




Speaking of Pictures 

By James R. Quirk 



TT could happen only in the movies." is a favorite bromide of 
-Lthe critics of motion pictures. Yet it happens every day in 
the newspapers. Scores of pictures have shown the situation 
where the impoverished Southern colonel and his daughter, 
about to lose the old plantation, are saved by the colt that wins 
the Derby. Always the wealthy villain, who fears their horse, 
gets in some dirty work, but is foiled in the nick of time, and the 
climax shows the equine hero charging under the wire to win by 
a nose. It never fails to thrill. 

With the plot slightly altered, that's what happened at the 
recent Louisville Derby. Pitted against double entries of 
millionaire owners. Black Gold, the lone entry of a com- 
paratively poor Oklahoma widow, gave me the thrill of my life. 
Fighting the whole field, pocketed and harassed on all sides and 
in front, the game black stallion ran away from them all with- 
out a touch of the whip. 

Xo picture could exaggerate the beauty and enthusiasm of 
Churchill Downs that day. It was a wonderful testimonial to 
clean sport. There wasn't a villain in sight, and it was a more 
orderly and representative gathering of the best folks of 
America than could be found at any pacifist convention. Too 
bad we cannot show a horserace in pictures without the in- 
sinuation of trickery. It is sending arms and ammunitions to 
narrow-minded reformers who consider "'the sport of kings" a 
game of the devil. 

THE racing season has opened in motion pictures. Among 
recent offerings are First National's "Galloping Fish," 
Uriiversal's "Galloping Ace," and F. B. O.'s "Galloping 
Gallagher." 

MOTION pictures, like politics, make queer bedfellows. 
Recently, during the making of a picture in Texas, the 
Seventh U. S. Cavalry was borrowed to take part in a scene 
in which Union troops — it's a Civil War picture — attack and 
capture a supply train going to the aid of Gen. Robert E. Lee's 
Confederate army. And the commander of the Union troops 
in the scene was Colonel Fitzhugh Lee, a grand-nephew of 
"Marse Robert." 

As Colonel Lee himself remarked: "If my great-uncle could 
see me now!" 

THE United States army, by the way, is getting to have a 
large percentage of picture actors. The Twenty-sixth 

Infantry, quartered at I'lattsburg, Xew York, was borrowed 



from the government to take part in .Marion Davies' new 
picture, "Janice Meredith," and appears in the \ all. I 
and Crossing the Delaware scenes. The recruiting officers will 
soon be using the slogan: "Join the army and get into the 
movies." 

WITH "Potash and Perlmutter" and "The Eternal City." 
Samuel Goldwyn seems to be permanently back in the 
production business. He had tough luck with the company 
whose name he took, but he seemed to have justified himself as 
an independent producer. Now he presents "Cytherea." for 
the edification of the film audiences, obviously an effort to 
collect shekels on the somewhat unsavory reputation of the 
book. Of course, they made no effort to live up to the novel, 
but the fact remains that many persons who ought to know 
better will rush into the theater with a childish faith that the 
hot stuff of the book version will be reproduced with all tin- 
passionate possibilities of the camera. Xext. Mr. Goldwyn will 
produce "Tarnish," the New York play that came in for quite 
a lot of denunciation because of its moral tone. Samuel really 
tried to be artistic once. He didn't gel very far, so he's 
reformed. 

ALL of which makes it pertinent at this time to hand .1 
bouquet to Will Hays for the truly sincere effort he i- 
making "to prevent the prevalent type of play and novel from 
becoming the prevalent type of picture." These are his own 
words, and they are well put. He may be getting a big salary, 
but he's worth more than double the price for what he i- <!• 
for the industry. He is a little fellow, but if he left now tl 
would be a big vacancy. 

FOREIGX* atmosphere seems to be difficult to get abi 
They make it much better in Hollywood as far as box 
appreciation indicate-. 

REPORTS have it that Griffith is looking for a new actress 
and a new actor for his leading role-. He is going to try 
new histrionic material in his next production, we hear. We do 
not know what Carol Dempster's plans are but she will undoubt- 
edly appear shortly in a production made by another concern. 

CECIL B. Df. MILLE in 'Adam's Rib'— a two-reel 
comedy." is the billing in front of a theater in Central 
Point. Oregon. Such is fame! 

27 



Thomas Meighan's New York Apartment 



/// her bedroom Mrs. Meighan has 
sacrificed the prevailing Chinese 
motif of the apartment for feni i nine 
cosiness. The furniture is all 
painted French grey, and the 
drapes, rug and counterpane are 
rose colored 



The two vases shown on the dining 
room buffet below are beautiful 
specimens of blue Hawthornes. 
The oval below is a priceless ivory 
showing every complete detail of a 
rice-grower's home. The cigarette 
shows its size 




Figure of woman in ivory resting on marble, 
covered with cloak of bronze 

28 



Three rare vases. Wislarii cloisonne (left), ivory tusk vase appliqued with 
mother-of-pearl and jade (center), Satsuma vase (right) 



A Rare Combination of Art and Comfort 





The living room contains one of the best collections of 
Chinese antiques in America. Two genuine Knki- 
monas framed in teakwood are seen on watts. Rug is 
black with dull yellow center. All upholstery of fine 
Chinese brocades 




Lamps of Chinese vases and silks and a vase of pigeon blood 
cloisonne containing red flowers 



Three of many beautiful pieces if carved i or\ 
Mr. Meighan collects in his apart tin>" 



SO 




Eugene O'Brien: "People like our love scenes because they 
feel in them the qualities I sense in Miss Talmadge" 



sophisticated 
man's ideal," 
lys Conway 
Tearle of 
Corinne 
Griffith 




Favorite 
Sweethearts 

of the Screen 



LAST month the fair charmers of the screen took the 
forum of Photoplay and proclaimed the great screen 
lovers. This month we have selected the most repre- 
sentative Romeos, as preferred by the public, and 
asked them to choose their Juliets from out the number of 
leading women with whom they have played. Each of the 
cavaliers approached the subject with temerity but with 
pronounced interest. The result is a brilliant masculine 
analysis of feminine charm, together with intimate character 
revelations which could be obtained in no other way. 

Photoplay has long contended that the cursory interview is 
unsatisfactory and unfair, and has, therefore, engaged the 
writers whose intimacy and friendships with film people make 
it possible for them to present genuine character pictures. With 
the same purpose we have asked the most distinguished roman- 
tic actors of the screen to give their frank opinions as to the 
most charming women in pictures. The results surpass our ex- 
pectations, revealing in flashes the throbbing human interest 
behind the screen, great friendships and admiration, personal 
characteristics that have never before been emphasized. 

It is therefore with confidence that we present The Great 
Sweethearts of the Screen as seen by their Screen Lovers — 



Lillian Gish 

By Monte Blue 

Were I chosen to play the 
role of any great screen lover, 
such as Romeo, I would want 
to kneel and worship before the 
shrine of Lillian Gish. 

I had the luck to play oppo- 
site her in "Orphans of the 
Storm." I have had the luck 
to play with a great many won- 
derful girls in pictures. But 



Says Robert Frazer of Pola Negri: "I lived 

every moment I played opposite her in 

'Men' " 

80 



Thomas Meighan 
gets his thrill from 
the most loving of 
sweethearts, 
Peaches Jackson 



As Chosen and Described by 
the Greatest Screen Lovers 



Lillian — Lillian absolutely transported me. As a fan, too, 
Lillian touches me more deeply than any other actress. 
When I saw her in "The White Sister" I wept, and I 
wasn't ashamed either. Do you remember that scene in 
"The White Sister" where she bids goodbye to her lover and 
looks out from the little window in the back of the carriage, 
looks, and looks and looks until she sees him no more? 
Don't you suppose that the man playing opposite her felt 
that look as you did? 

Lillian Gish is inspiring and inspired. She is the madonna 
woman and greater praise no man can give. 



Pola Negri 

By Robert Frazer 




I am glad for the opportunity to pay homage to the great- 
est emotional actress of stage or screen with whom I have 
ever worked — Pola Negri. I have never in my life beheld a 
woman of such sublime dramatic talent. 

In the romantic sequences and love scenes I have never seen 
her equal. 

I lived every moment of the character I played opposite her 
in " Men." I lived it because she made me feel it so completely. 
Her entire soul is wrapped up in her work. And her eyes ... I 
have heard of people talking with their eyes, but I was more or 
less skeptical until I worked with Miss Negri. 

In the love scenes she is an entrancing creature. Her com- 
posite nature encompasses every emotion. She ignores all stage 
technique, all camera angles. She is just a mighty, vital rush 
of human power. Into every scene she throws herself with 
such fervor of abandon that one finds he must draw on all his 
knowledge and experience to come up to her work, and then he 
will find that Pola always overshadows him completely. 

In tribute to Pola Negri, great woman and 
great artist, I must add that never have I 
worked with anyone so generous, so stimu- 
lating in her praise. 

Yes, Pola Negri is my ideal of 
greatness both in woman and in 
artist. 

Alice Terry 

By Ramon J<[ovarro 

There is no one on the screen, 
with the possible exception of 
Lillian Gish, who so fulfills my 
ideal of loveliness in woman as 

[ CONTINUED ON PAGE 99 



Antonio Moreno finds that Estelle Taylor gives thai inspira- 
tion which raises the actor to (hi mood of the moment 



Alice Terry, to 
Ramon Novarro, 
typifies the 
ideal of 
womanly 
beauty 




Laura La Plante 
n "presents the love 
of unspoiled youth, 
in 1!: ginald Denny's 
opinion 



It is the dominating ,■ sweetness of Bebe 
Daniels that makes its appeal to Jack Holt 
in playing opposite her 

31 



A Really Great Story of Radio, 




Mary Walsworth was never 

quite certain as to just how 

the struggle started 



The 



A 



Chapter I 



HEX-HAWK, floating high in 
the summer air, tilted and 
veered as it passed over Power 
House Hill. It circled slowlv 



Story Without 
a Name 



downward as it planed over the misty 
emerald slopes of the Golf Course and 
out over the Checkerboard farmlands of 
the wide-flung Virginia valley. And as 
its shadow slid on past orchard and 
meadow an ominous silence fell on all 
feathered creatures feeding in the late 
afternoon sunlight. 

Old Sam Carter, stolidly hoeing in his bean-field, stopped to 
mop his brow and glance at the lowering sun. As he did so he 
caught sight of the slow-planing bird of prey above him. He 
turned and squinted towards the tree-shadowed house, where he 
saw his daughter Ruth taking her dish-towels in from the cur- 
rant-bushes. He called to her quietly, and then by pantomime 
indicated that he wanted his gun to shoot down this hovering 
enemy of their hen-run. 

The bright-faced girl must have understood his signals, for a 

82 



Author of "Phantom Wires," "The Wire Tappers," 
"The Gun Runner, " "Manhandled" and other stories. 



By Arthur Stringer 

Illustrated by Douglas Duer 



moment later she emerged from the house-door with the old 
muzzle-loader resting in the crook of her sun-browned arm. 
Old Sam's glance was still aloft as, without speaking, he took 
the gun from the girl's hand. They stood side by side waiting 
for the planing wings to drift overhead. The girl even placed 
her finger-tips against her ears, in dread of the coming ex- 
plosion. 

But no explosion took place. Instead, a strange thing 
happened. Suddenly, out of the blue where it floated, the 



Love, Adventure and Mystery 




$5,000 in Cash 



He brought the metal grip 
of his automatic down on 
Alan's blood-stained head 



for a Title 



Read the conditions on the following page 



huge bird fell like a plummet to the ground. No trigger had 
been pulled. No shot had been fired. But the hawk lay. 
a mass of rumpled feathers, dead between the hen-rows. 

Old Sam strode to where it lay and turned it over. He 
studied the body, point by point. Then he scratched his head. 

"What killed it, Dad?" asked the girl, a noteof awe in her voice. 

Sam Carter looked slowly about. His gaze rested on the 
weather-bleached old government tower where an armed guard 
paced back and forth along the enclosure fence. Then it 



passed on to the Golf Course where the 
bright but ant-like figures moved over 
the green billows of tuif. It came to a 
resl where t he windshield of an auto- 
mobile, winding along the valley-road, 
flashed the afternoon sun back in his 

"If it weren't a critter of the wild I'd 
call it heart-failure," said the man still 
holding the feathered can "For 

nothin' hit that bird. Honey, unk" it 
was 1 he final thought of itsoncry w. 
But up in the tower work-shop just beyond the cr< 
Power House Hill no such uncertainty marked the two brown- 
faced young men bent over their instruments. Don Powell, 
the younger of the two. dropped the binoculars through which 
he hfd been watching the scene above the bean-field. 

" By God, Alan, you got him!" he cried with an odd tremor 
of triumph in his voice. 

Alan Holt, the older of the two. turned a switch and jerked 
the plug from the small dial-board in front of him. He laughed, 



Rules for the Great Cash'Radio Contest 



THE great $5,000 cash ladio 
contest is now on. 
It is even bigger and better 
than announced in June Photo- 
pi. \y. Four of the latest and best 
De Forest Reflex Radiophone Re- 
ceiving Sets, instead of three, will 
be given as prizes for sub-titles to 
the installments. 

That means there will be four 
installments of Arthur Stringer's 
absorbing radio romance — the 
greatest story printed by any 
magazine this year. Love, adven- 
ture, thrills and intrigue combine 
to make it the most interesting and 
thrilling of summer reading to l:e 
found in any publication. The first 
installment is printed in this issue 
of Photoplay. 

Irvin V. Willat, one of the na- 
tion's greatest directors, is filming 
the story for Famous Players - 
Lasky Corporation with a notable 
cast headed by Antonio Moreno 
and Agnes Ayres. The picture will 
be ready for release early this fall 
and promises to be the sensation of 
the film world. 

The De Forest Company has 

perfected a new radio receiving 

months, the company's engineers 



The Prizes 

Here are the prizes for Photoplay 
Magazine Radio Contest. 

First Priz,e .... $2,500.00 
Second Prise . . . 1,000.00 
Third Prize .... 500.00 

Five $100 prizes, five $50 prizes and 
ten $25 prizes — all cash. Four De 
Forest Reflex Radiophone Receiving 
Sets, complete with batteries and loud 
speaker 



set. 
and 



For 
elec- 



trical wizards have been at work perfecting 
this instrument. The designers claim it is 
the greatest thing yet done in radio. It will 
not only be the most beautiful and artistic set 
manufactured but will be clearer and carry 
further than any ever made by this company, 
thej' say. 

Four of these wonderful sets, complete with 
batteries and loud speakers will be given away 
for the best sub-titles submitted for the four 
in-tallments of the story. 

Read the first installment. It may suggest a 
title and sub-title to you. Send them in with 
your reason for considering them best suited 
to the story and installment and expressed in 
100 words or less. You may use the coupon 
on this page for this purpose, although its use 
is not compulsory. 

Read the rules governing the contest. Then 
send in your suggestions as early as possible. 
Send as many as you want, but send them one 
at a time. They may win you a big cash 
prize and one of the wonderful radio sets. 



Conditions of Contest 

PHOTOPLAY MAGAZINE wants a title for 
-*- a story written by Arthur Stringer, which 
starts in this issue of Photoplay Magazine. It 
will be known as "The Story Without A 
Name" in Photoplay Magazine Radio Con- 
test. Suggestions are invited for a title and 
$5,000 in cash and four radio receiving sets will 
be given away under the following rules: 

1. Any person, except an employee of 
Photoplay Magazine or Famous Players- 
Lasky Corporation, or members of their 
families, may enter the contest. By submit- 
ting a suggestion a person becomes a contestant 
and as such agrees to abide by these rules. 

2. To the person submitting the best title 
for the story and best sub-titles for the install- 
ments of the story, together with his, or her, 
reason why such titles and sub-titles are best 
suited to the story and installments, and ex- 
pressed in 100 words or less, Photoplay 
Magazine will give $2,500 in cash. The 



CUT OUT THIS COUPON 

This coupon may be used to submit suggestions in Photoplay Magazine Radio Contest 
for which $5,000 in cash and four De Forest Reflex Radiophone Receiving Sets will be given 
away. Read the conditions carefully and then send all suggestions to Photoplay Magazine, 
Radio Contest Editor, 221 West 57th Street, New York City. 

Title for Story 

Sub-Title for July Installment 

.Xani e of Contestant 

Street Number 

City _ Slate 

Reason for selecting title and sub-title 

$1 



second prize will be $1,000; the 
third $500; $100 will be given to 
each of five persons submitting the 
next five best titles and sub-titles; 
$50 will be given to each of the 
five persons submitting the ninth, 
tenth, eleventh, twelfth and 
thirteenth best titles and sub- 
titles, and $25 will be given to each 
of the ten persons submitting the 
next best ten titles and sub-titles. 

3. To each of the persons sub- 
mitting the best sub-titles for the 
installments of the story, Photo- 
play Magazine will give a De 
Forest Reflex Radiophone Receiv- 
ing Set complete with batteries 
and loud speaker. 

4.. Cleverness of ideas, accuracy, 
conciseness, originality and neat- 
ness will be considered in the 
awards for the titles and sub- 
titles. No title will be considered 
that duplicates or conflicts with 
the title of any copyrighted story 
or photoplay. 

5. Contestants may submit as 
many suggestions as they desire. 
They are urged to send them as early as pos- 
sible to facilitate work of the judges. The name 
and address of the contestant must be on each 
suggestion submitted. 

6. For the convenience of contestants a 
coupon will be printed in each issue of the Mag- 
azine during the contest, and may be used to 
submit suggestions. Although use of this 
coupon is not compulsory, contestants must 
submit suggestions on paper that conforms to 
the coupon in size and shape. 

7. The judges of the contest will be James 
R. Quirk, editor of Photoplay Magazine, 
and Jesse Lasky of Famous Players-Lasky 
Corporation. In selecting titles and sub- 
titles for cash awards, the judges will be at 
liberty to disregard sub-titles for which radio 
sets have been awarded. Their judgment in 
all awards will be final. 

8. If more than one person submits the 
same titles and sub-titles for the story and 
installments which win cash prizes, and gives 
reasons for selecting them in an equally clever, 
accurate, concise, original and neat manner, a 
duplicate prize will be given to each such per- 
son. If more than one person submits the 
same sub-titles for which radio sets are 
awarded, in an equally clever, accurate, con- 
cise, original and neat manner, a duplicate 
radio set will be given to each such person. 

9. All awards will be announced in Decem- 
ber Photoplay. 

10. Photoplay Magazine reserves the right 
to use the titles submitted as it sees fit. If a 
suggestion offered as a sub-title is better, in the 
opinion of the judges, than any title submitted 
for the story, the judges are at liberty to use 
it as a title for the story and award the person 
who submitted it the first cash prize. 

n. All suggestions submitted become the 
exclusive property of Photoplay Macazine. 

12. Photoplay Magazine reserves the ex- 
clusive right to revise or alter these rules at any 
time. 

13. The contest will close at midnight, 
October 15, 1924, and no suggestions received 
after that hour will be considered. 

14. All suggestions must be mailed to Radio 
Contest Editor, Photoplay Magazine, 221 
West 57th Street, New York City. 




Mary came of fighting stock, and, if she hesitated, it was only for a moment. Stooping low, she hurled her 
slender young body against the heavier body at the stair head 



ilmost foolishly, as he wiped his face with a shirt-sleeve sadly 
Itained with oil and acid. It was a lean face, an intent face, 
dready marked by lines of thought, a face, for all its youth, 
hat might have been called hard and would always seem som- 
bre, except for a dreamy softness about the meditative grey eyes. 

"That may have been an accident," he said as he took up 
he binoculars. "And we can't crow until we're sure." 

He stepped back to his instrument. "What's in that car 



stopping by the side-entrance lo the Club House?" he asked. 

Don, whose glass had been poised on the gayer group 
tered about the Club portico, where he had notice. 1 Admiral 
VValsworth and his daughter Mary roll up in their high- 
powered grey roadster, studied the humbler car in the rear. 

"It's a delivery truck and the driver's carrying a can of ice- 
cream into the Club. I can see a second can still standing 
his truck." 



■ 



"Then if I've got this triangulator right," retorted the older 
man, "it ought to do more than kill a bird. Adjust your in- 
strument and let's see what we can do to that three gallons of 
ice-cream." 

There was a click of turned switches, the play of a pointed 
dial-needle as the theodolite-deflector computed and triangu- 
lated its distances, a muttered word or two as the power was 
turned into the insulated coils at their feet. Then for ten 
seconds, for twenty, not a word was spoken. But a short gasp 
suddenly burst from the man watching through the binoculars. 
For, half a mile away, the metal top of an ice-cream can stand- 
ing on a delivery truck flew up in the air and fell back between 
the car wheels. It was followed by a boiling geyser of creamy 
liquid, bubbling *md frothing up out of its container and strik- 
ing the returning truck driver stock-still in his tracks. 

"You've done it!" cried Don. "You're targctting on him 
as clean as a rifle could. And that shows what you could do to 
a dirigible envelope. And what you could do to an enemy pilot 
in mid-air! You've made the grade!" 

The intent look was still on the older youth's face as he bent 
over his burnished apparatus. 

"I've never mentioned it, but for the last five days I've been 
giving a baby-dose of these rays to 
a fat old boy down on that golf 
course. I've been getting him 
just as he putts for the seventh 
hole. The first day I saw him 
stop short and look all around. 
Then he unbuttoned his collar and 
sat down on the green, fanning 
himself. But I couldn't be sure. 
So the next day I gave it to him 
just a little stronger. I could see 
him drop his stick and stagger to 
one side, like a man with vertigo. 
He's a flask on his hip, and he had 
to take a good long drink before he 
got the courage to go on. But he 
sniffed all around that green, as 
though he thought he'd been poi- 
soned with sewer gas. On the 
third day he brought somebody 
with him, apparently his doctor. 
They nosed around, and argued, 
and examined the turf with a 
microscope. When I got the right 

focus on the old boy this time he simply blew up, fanning the 
air like a bear fighting bees. I could see the doctor lug him off 
to one side and take his pulse and give him what must have been 
a heart pill or two. And this time that big redfaced hulk of a 
man took two drinks from his pocket flask, although I'd only 
given him a fraction of one per cent of my wave power. With 
five per cent I could have stopped his heart action inside of three 
seconds. And with my full power I could have struck him 
cold, fifteen miles away !" 

"Good God!" gasped the younger man, with more awe than 
irreverence. "That means you can blast an army before you 
even see it! It means you can stop a submarine eighty fathoms 
under the sea! It means you can halt battleships by knocking 
over their commanders, you can rout an army without firing a 
shot. It's worse than gas and liquid-fire put together, for it's 
going to travel as fast as light and it's going to hit the enemy 
like the blight of God! It makes me dizzy when I think what 
it'll do. But I'm sane enough to know this is some day for the 
little old U.S. A.!" 

"Not until we've finished our work," amended the man 
beside the dial-board. 

"But even now it means a dead-line about our coast," cried 
Don. " It means a big gun can't be fired within range of your 
triangulator." 

"And that range," proclaimed Alan, "will be tripled when 
I get this automatic finder working right. I'll contract my 
base-line and make my two instruments a unit, instead of 
straddling over a quarter of a mile with your auxiliary apparatus 
in the other tower, just to be safe on my triangidation work." 
" But I still don't see it, even though I do call myself a bit of a 
radio fan," protested Don. "It's easy enough to say that enfi- 
lading waves meet and clash and create a catabolic eddy, or, as 
you put it the other day, that your converging Hertzian waves 
are like the share and landside of a plow, throwing an aerial 
furrow, and that within this etheric rupture nothing can — " 
"Who's at that door?" cried Alan, suddeidy arrested in his 

36 



Read this great story and 
send in your titles for this 
instalment at once. Save 
this issue so that you can 
participate in the big cash 
prizes, and order your next 
month's issue in advance 
to be sure of getting it be 
fore it is sold out. 



movements. In three seconds the younger man had crossed to 
the door and thrown it open. Standing there the two operators 
saw Hyde, the guard appointed to patrol their carefully en- 
closed proving grounds. Hyde stiffened and saluted. But 
the ensuing moment of silence was an awkward one. 

"What right have you up here?" challenged Alan as he 
crossed slowly, step by step, towards the interloper. 

"I heard some one call, sir," said the sullen-eyed guard. 
" And I thought there might be trouble afoot." 

"There will be," was the prompt retort, "if you don't obey 
Department orders. This tower is private." 
The armed figure saluted and withdrew. 

"I've a queer feeling about that bird," Allan meditated aloud. 
"It's a sort of hunch that's been hanging over me for a week 
now." 

"Oh, Hyde's all right," protested the younger man. "I 
guess I hollered loud enough, when you brought that hawk 
down, to make any leather-neck sit up." 

But the frown of worry remained on Alan Holt's face. 
"Things are crowding up to a climax here. And we've 
got to watch our step. Three weeks ago that first triangulator 
model of mine was spirited away from this tower — God knows 

how ! Whoever got it, luckily, got 
it without its enfilading key. And 
our work isn't finished until this 
apparatus is packed and locked in 
its case and safe in the keeping of 
the War Department." 

"Then let's get the thing back 
to Washington before I die of 
heart-strain," suggested Don as 
he stepped to the tower-rail and 
once more took up the binoculars. 
"There's a closed car coming up 
past Smithers Mill," he said as he 
swept the landscape, "and it's 
coming fifty miles an hour. And 
there's Admiral Walsworth leg- 
ging it over here from the club 
house, I don't suppose it would 
improve your chances any to give 
that high-and-mighty bureaucrat 
a bump or two with a triangulator 
wave?" 

"Nothing I can do seems to im 
prove my chances there," Alan 
retorted with unexpected bitterness. 

"But why should you worry about that old rooster?" was 
Don's prompt demand. "From now on you've got the whole 
Department behind you. And once you get your official try- 
out they'll be pinning medals on your tummy as thick as tarpon 
scales." He cut his laugh short to swing his binoculars high 
in the air. "And there's Mary waving to me. I'd really for- 
gotten about Mary, old man. But Mary's different. She's 
steel-true, through and through, and I guess she's pinning more 
than her faith on you." 

The sternness went out of Alan's face. But he stood, for a 
moment, deep in thought. 

"Don, I want you to cut over to your tower and bring in the 
auxiliary instrument," he finally said. "And don't get back 
here inside of twenty minutes. And if there's any way o! 
holding up the Admiral, during these same twenty minutes 
so much the better." 

Don's smile, as he pulled on his coat, was a broad one. 
"I can remind him that Claire Lacasse is over on the clul 
house porch," suggested Don. "He seems to think th 
Countess is the last word in dusky loveliness." 

"There's another queer fish," said Alan, stopping short i) 
his work, "I've been nursing a hunch about." 

But Don was already halfway down the stairs. He wa 
whistling light-heartedly as he passed the watchful Hyde a 
the base of the tower. He called gaily to Mary Walsworth a 
he caught sight of her coming up the hill-path, noting with 
sigh of relief that her father had stopped behind to speak wit 
a red-jacketed figure on the fringe of the golf grounds. Hali 
way to his auxiliary tower Don consulted his watch and brok 
into a run, remembering that he had a little talking of his ow 
to do. Three minutes later, indeed, he was bent over a twe 
hundred-watt sender which he had quietly put together for hi 
own private ends. For during his month of work in that lonel 
neighborhood Don had met and talked radio to Ruth Carte 
They had even heliographed back [ continued on page 108 




The Final Word in the Bobbed Hair Controversey 

WHO wouldn't part with her tresses to such a barber? Rudolph Valentino 
as the Due D'Orleans disguised as a barber in "Monsieur Beaucaire," 
the picture that will bring him back after a long absence from the screen. 






Alumnae of the Sennett Academy 




© Evans Studio 



Mary Thurman deserted the waves and was 
recently with Gloria Swanson in "Zaza" 




Alberta Vaughn is an 
F. B. 0. star in " The 
Telephone Giii" — but she 
wears a bathing suit in it 



A trio of graduates. Left to right, 
Harriet Hammond, who has been in 
several dramatic pictures; Phyllis 
Haver, who has the leading role in 
" The Fighting Coward"; and Marie 
Prevost, who did exceptional work in 
" The Marriage Circle" 




It isn't necessary to tell anyone wh,al Gloria 
Swanson has done since these days 

38 




1 



And some 1924 Undergraduates 



WHO has done the most for dramatic 
art in America? Thoughtless people 
would say David Belasco and D. W. 
Griffith, but the more profound know that 
the laurel wreaths go to Mack and "Ziggy." 
Mack Sennett is the Ziegfeld of the West, or 
vice versa, depending on whether you like 
'em dry or in the water. The Sennett bath- 
ing girl is the modern classic, the standard 
now for beauty. And from those sylvan 
Sennett pools many a sportive nymph has 
emerged an actress. 



No less an 
authority than 
Valentino picked 
Eugenie Gilbert 
as a beauty 





Mack Sennett 
says C e c il e 
Evans (at right) 
has "8100,000 
legs'' and he 
shoidd l:now 



Mack Sennett' s "1924 
Follies of Hollywood." 
Standing, left to right: 
Thelma Hill, Margaret 

Cloud, Hazel Williams, 
Alice Day, Dorothy 
Dore, Elsie Tarron. 

Seated, left to right: 
Evelyn Francisco, Cc- 
cile Evans and Gladys 

Tennyson 




Big Money — No Education Necessary 




With Specially 
Posed Illustrations 



Presenting to 

Photoplay readers 

a demonstration 

of the A B C's 

of the high art of 

publicizing 

movie stars 

without the aid of 

a dictionary 



By Pete Smith 



LESSON 1. A publication will generally print a photograph showing a star reading 
a copy of said publication. Above photo of Blanche Street is perfect — except the 
magazine should be held right side up 




LESSON 2. "Fan mail" is always a good subject. But Pat 
O'Malleys top photomailers, containing Ids autographed pic- 
lures, should be addressed and the barrel entirely covered 

kO 



l.ESSOX 8. Automobile editors always crave pictures of famous 

stars with their brand new cars. Illustration shows Conway 

Tearle in correct pose for this type of publicity 



Be a Press Agent — Meet All the Stars 




LESSON 4- Endorsements by stars of articles of merchandise 

always offers a vast field for free advertising. Sylvia Breamer 

as she is -pictured doing her week's trash 



LESSON 6. Snappy photographs <>f stars conveying the s/nrit 

of the different holidays generally get printed. Above shows 

Colleen Moore in a cute Thanksgiving pose 




LESSON 5. Movie stars in domestic poses: Estelle Taylor 
is here illustrating the thought. This photo would h<n< been 
splendid if the wrapper had first been removed from the loaf 



LESSON .'. Directors, too, ran I" p 

graphing them "reading the script" to one of th< 

the cast. Mavrict i offers a rare illustration of this 

41 



CLOSE -UPS & LONG SHOTS 



AFTER all the champagne 

A~\ charm of Paris and the lazy 
A \ Arabic lure of North Africa I 
still find Hollywood vividly 
seductive. 

Jauntily dressed in sport clothes it has the youthful non- 
chalance of a college town. 

There's a hospitality, too, that you do not find in points 
farther East. I say this in face of the fact that upon my arrival 
fifty houses were raided and 30,000 gallons of wine heartlessly 
dumped. At first this savored of a personal affront ; certainly it 
was hardly an appropriate welcome-home. But any hurt I felt 
quickly vanished when I straddled a stool of a boulevard lunch 
counter and saw those familiar friendly signs, "Ask for a second 
cup of coffee, no charge," and " If your wife can't cook, feed her 
here and keep her for a pet." 

Perhaps the greatest improvement I've noted is the kiss- 
proof lip stick displayed in all drug store windows. Thus 
science eliminates the danger of make-up, which in the past 
resulted in so many unfortunate disasters. The lips of Ffolly- 
wood are unquestionably the most beautiful and tempting in 
the world, and the few noses that were out of joint with the 
times have been corrected also by science. 

Truly, once you've gazed upon the face and form of Holly- 
wood you are too fastidious for any other city, because none 
other has such perfect camera angles. 

I FOUND Hollywood in mourning over Rex Ingram's decision 
to quit the screen. 

Eric Von Stroheim meeting Ramon Novarro at a ball in the 
Ambassador begged to be told that it wasn't true. "Ah, that 
man!" exclaimed Eric, "he is the greatest director in the world!" 
To which Ramon replied with his characteristic suavity, "I beg 
your pardon, but Mr. Ingram has led me to. believe that you 
are the greatest." "No, no," protested Eric passionately, "he 
is the greatest — there is no one to compare with him." 

Ernst Lubitsch refused to listen to my confirmation of the 
report, bursting into wild German expostulations and mad 
shakes of the head. 

Perhaps the most violently inconsolable was Dimitri Bucho- 
wetzki, maker of "Peter the Great" and current director for 
Pola Negri. He proclaims with Russian vehemence that there 
is everything in a Rex Ingram picture you are capable of seeing. 
"Those with little intelligence get something," says he, "those 
of greater intelligence see greater subtleties, but always beyond 
the penetration of the greatest there is something which only 
Rex Ingram himself knows." 

MY old pal Bull Montana threatens to desert the art of the 
screen to become a chorus man. He has received an offer 
to star in musical comedy. Inasmuch as he can neither sing nor 
dance he probably would make good. The slump in the 
industry, combined with the increasing commercialism of pro- 
ducers, has so disheartened Bull that he is ready to quit along 
with Mary Pickford and Rex Ingram. 

Calling at his luxurious bungalow recently I found him in 
ballet slippers going through his bar exercises, singing the while 
an aria from "Tosca." He listened patiently while I begged 
him to reconsider before throwing himself away on the chorus. 
His only reply was a wan smile and a shrug. " It is cither this," 
he said, "or a return to the butterfly society life for which I 
never cared." 

I still believe Bull will be dissuaded. The screen needs such 
as he, an artist and a born aristocrat. The other afternoon, as 
he swept regally out of his maison wearing his fashionable 
brown derby, his new liveried chauffeur sprang forward to open 
the door. 

"Where do you want to go, sir?" asked the chauffeur. 

"Oh, I dunno," said Bull. "Where do you?" 



By Herbert Howe 



T 



HE troubles of movie actors make countless thousands 
- mourn. I've had so many friends of the profession weeping 
on my shoulder over the injustices done them that my very soul 
has been dampened. It may be any of a number of indignities 
that brings the downpour: they have to work nights, they have 
only one week between pictures instead of a month's needed 

h2 



rest, their best scenes are cut out by the 
star or director, they're only getting 
two thousand a week whereas some 
other actor not half as popular is getting 
twenty-five hundred, the publicity de- 
partment hasn't sent out a line about them for months. . . . 
"We certainly earn our money," they wail. "You have no 
idea how tiresome it is sitting around between scenes on a set in 
a warm studio." 

Although sitting happens to be my favorite profession I try 
to realize that others may piefer standing, or bounding, or 
hanging by their toes. And so I'm often won to tearful com- 
miseration with the lot of the actor who at twenty-five or thirty 
is getting only two thousand a week, to sit and suffer. 

I give myself just one more year of this and then I'm going to 
China and clean up as a professional mourner. 

IT is the custom in Hollywood and Los Angeles to hold an 
"opening night" for a picture, be it good, bad or indifferent, 
at which the director and all the players assemble themselves on 
the stage to receive "ovations " I attended a special perform- 
ance recently where the scenario writer was introduced as "the 
greatest of modern writers, the composer of an epic, the genius 
of the pen." Then came the director, " the genius who has done 
more for the industry than any other man, the creator of in- 
numerable epics, the genius supreme of the screen." Then the 
players, each of them introduced simply as a genius and each of 
them bowing modestly in token. I felt the desire to arise and 
howl, "Well, here's a genius who is going to leave the theater, 
now what do you think of that?" But I didn't. Which proves, 
of course, that I'm not a genius. 

HE may be "the perfect lover" to the world, but Eugene 
O'Brien's particular title for himself is "The world's worst 
dancer." He thought he was getting away rather well at a 
recent social function until he learned that the husband of the 
lady with whom he'd been dancing was in a state of explosion. 
Bewildered, Gene went to the gentleman to learn the offense. 
"Well," puffed the raging husband, "I hardly expected you to 
do the Chicago with my wife!" 

"My God, was that what I was doing?" gasped Gene in 
amazement. "You see I never knew my steps by cities!" 

I UNDERSTAND that Ernst Lubitsch's "The Marriage 
Circle" is being stopped in several states because it shows a 
man talking to his wife in bed. Moral: Conferences should be 
confined to office hours. 

TO be progressive is to invite martyrdom, says Nita Naldi. 
Nita started the vogue for stockingless limbs, and, accord- 
ing to her own testimony, got meowed out by a lot of old 
Angoras. 

"Now they're all running around without stockings," says 
the society leader of the screen. "So I've put mine back on in 
order not to be common. The reason I went without them in 
the first place was because I couldn't afford 'em. I was getting 
thirty-five a week in the chorus, and they deducted five for 
tights. I had to wear the tights but I didn't have to wear 
stockings, my legs being naturally yellow." 

"Ah, ah." sighs the persecuted Nita, "I guess the only 
thing left for me to do is to don a flannel petticoat and wear 
curls like George Eliot." 

RAOUL WALSH was recently made sole heir to an estate 
of $750,000 left by an aunt in Ireland. Although the aunt 
had never seen Raoul she chose him as her heir because she had 
heard he has blue eyes. Further proof of the power of pub- 
licity. Other relatives had blue eyes but the fact never got 
into the Questions and Answers department of Photoplay, 
and so today those eyes are red. 

ALICE TERRY recently met Pola Negri. "She is charm- 
ing," said Alice, "but after all the wild things you've 
heard about her temperament you expect her to do a somer- 
sault or something. Of course she doesn't, so naturally you're 
a little disappointed." [continued on page 121 1 




This striking pose and costume illustrate the bizarre but 'picturesque effects which Mac Murray ■ ssful in obi 

Fnnn her recent picture, "Fashion Row" 

JVLAE JVLURRAY — A Study in Contradictions 



THERE is only one person in 
the world who can make me 
wish I was a lady. 
That person is Mae Murray. 

Perhaps it will seem strange that this former show girl, who is 
famed around the world for the scanty attire in which she can 
display her perfect figure, should have such an unusual effect 
upon me. But Mae Murray is like that — a study in contra- 
dictions. 

Most of the time I am quite content with the free and easy 
manners which arc the fashion just now and with the dreadful 
plain speaking which passes for conversation when friend meets 
friend. 

When I meet Mae Murray, I am somehow reminded thai 
compliments and courtesy are pleasant things to experience. 

For all that, I am not convinced that Miss Murray's ex- 
quisite manners and her formal but charming ways are not a 
supreme affectation. 

I'll take that back, on thinking it over. I am convinced that 
they began as an affectation and have ended by becoming per- 
fectly natural. People who have known her since the begin- 
ning of her career tell me she has always had that suggestion of 
affectation, like the posing and posturing of a lovely dancer. 

Anyway, I adore it. I am fascinated by her daintiness, her 
fragility, her pretty airs and graces. 

After the craze for naturalness that we have been passing 
through, talking to Mae Murray is like eating a cream puff 
when one has been surfeited with corned beef and cabbage. 
Not very substantial, perhaps, but mighty appetizing. 



By Adela Rogers St. Johns 



Her off-screen personality is u 
ferent from her silversheet self as 
is from night. Only, on or off. un- 
consciously she dramatizes herself. 
Mae Murray is first, last and all the time, a showman. The 
theatrical instinct — the instinct for the theatrical— amounts to 
genius witli her. 

I have seen her dancing at the Montmartre with some dark- 
haired youth. She comes quietly from her table, her golden 
hair hidden beneath a twisted black turban. Her famous 
figure is clothed so demurely, so simply, in black velvet No 
jewels. No make-up. The floor is packed with couples mad 
to dance. Unobtrusively she .slips in among them, the music 
sways her, the pretty head flings up, the black velvet whirls 
about her. revealing unexpected shiramerings of silver, and tiny 

shoes with diamond buckles and sheer stockings that make you 
think of slender, nude lej^s. In ten minutes, she and her 
partner have the floor to themselves and the dancers are v 
ing, although apparently .Mac Murray hasn't noticed either 
their departure or their attention. 

And yet I swear to you that Miss Murray has done nothing 
that the most perfect lady might not do, worn nothing that a 
perfect lady might not wear, and danced nothing that many 
debutantes cannot dance. 

I have seen her at the New Year's Day football game. 

Everyone has sacrificed appearances to comfort, everyone is 

wearing sport clothes that look more or less alike. Mac Mur- 
ray is wearing sport thing-, too, sitting demurely in the farthest 
corner of her box, intensely interested [ continued on page i i\ \ 



THE NATIONAL GUIDE TO MOTION PICTURES 




Th 



THE GOLDFISH— First National 

AFTER a series of poor pictures, Constance Talmadge, in 
a suitable vehicle, comes back. As Jennie Wetherby, a 
fist-fighting Bowery girl, married to a handsome young Irish 
song-writer, she sparkles in the vein of comedy that once 
made her one of the biggest favorites in pictures. After an 
unusually stormy fight with Jimmy, Jennie hands him a 
bowl of goldfish — the symbol that their marriage is off — and 
marries Herman Krauss, who furnishes a Riverside Drive 
apartment. Then she divorces Herman for his president, 
J. Hamilton Powers. After her third husband's death, now 
a beautiful, accomplished young woman, she accepts the 
proposal of the Duke of Middlesex. And lastly Jimmy, now 
a well-to-do manufacturer, returns and she hands the 
waiting Duke a bowl of goldfish. The cast is excellent. 




THE REJECTED WOMAN— Distinctive 

THIS picture of the snow country gives Alma Rubens one 
of the finest opportunities she ever has had, and she takes 
full advantage of it. Her role calls for the portrayal of the 
character of a girl of the Canadian wilds who becomes a 
famous opera singer in Paris. In a fire, she loses her voice, 
but is compensated by winning the man she loves. The 
story is somewhat illogical and improbable, and the con- 
tinuity leaves much to be desired, but, in spite of these short- 
comings, the interest is there. There are snow shots that 
never have been surpassed and later, there is a fire 
panic scene which is intensely thrilling. Conrad Nagel is 
good in the rather thankless leading male role, and good bits 
are contributed by George MacQuarrie, Bela Lugosi, 
Aubrey Smith and Wyndham Standing. 

u 



Shad 



ow 




A Review of the Js[eiv Pictures 




DOROTHY VERNON OF HADDON HALL— 
United Artists 

THIS new effort of Mary Pickford, one of the late Charles 
Major's historical romances, is exceedingly beautiful pic- 
torially. If it does nothing else, it will establish a new high 
water mark in animated photography. 

"Dorothy Vernon of Haddon Hall" moves along conven- 
tional historical lines. Dorothy is being pushed by her father 
into a marriage with her worthless kin, Sir Malcolm Vernon, 
when she loves the son of the neighboring Earhof Rutland. 
Actual folk of history move across the background, now and 
then becoming pawns in the story. Dorothy, petulant, head- 
strong, violent tempered and lovable, wins her choice. 

Miss Pickford is Dorothy and the role will please her army 
of followers. Although lovely optically, it offers little new. 
Workmanlike of technique, her acting strikes no big spark. 
It is careful and considered all the way. This mood of care 
seems to run all through the production. It moves slowly. 
It lacks pace and, in a measure, spontaneity. There are two 
performances of vitality in the production. Claire Eames' 
Queen Elizabeth is admirable. Her Virgin Queen will linger 
among your celluloid memories. Estelle Taylor's few mo- 
ments as the tragic Queen of Scots have poignancy. Miss 
Taylor has been steadily advancing. Actually, "Dorothy 
Vernon" comes pretty near being old home week for the 
Pickford family. You will find Lottie Pickford as a serving 
maid to Dorothy, and Allan Forrest, her husband, as the 
heroic John Manners. Even the redoubtable Doug is there 
to be caught by those with keen eyes. Marshall Neilan is 
the director and his hand is apparent in the frequent little 
comedy sequences. Charles Rosher, cinematographer 
extra ordinary, deserves a medal of honor for the photography. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 

DOROTHY VERNON OF HADDON HALL 

CYTHEREA MEN THE GOLDFISH 

THE REJECTED WOMAN THE LONE WOLF 

The Six Best Performances of the Month 

Claire Eames in "Dorothy Vernon of Haddon Hull" 

Mary Pickford in "Dorothy Vernon of Haddon Hall" 

Lewis Stone in "Cytherea" 

Pola Negri in "Men" 

ZaSu Pitts in "The Goldfish" 

Alma Rubens in "The Rejected Woman" 

Casts of all pictures reviewed will be found on page 122 




CYTHEREA— First National 

CONSIDERING the fact that the public has been given 
the happy ending it is supposed to expect and that cen- 
sors must be placated, the picturization of Hcrgesheimer's 
novel is, taking it all in all, a creditable piece of work. To 
be sure, the spirit of the original at times is lacking and the 
interpretation inclined to be foreign to the author's mean- 
ing. This may be a bit irritating to readers who have 
enjoyed the novel, but to those to whom the story is new 
the film presentation should prove sufficiently satisfactory. 

Alma Rubens as Savina Grove — the symbolic Cytherea, 
goddess of love — offers a subtle interpretation of the 
woman nearing her middle years who so poignantly wants 
the fling life thus far has denied her. It is true, much of 
this emotional fire must be left to the imagination; but this 
is partly due to the necessity of toning down the original 
text, and more largely to the inevitable elusiveness of the 
role. The personality of Savina Grove is by no means an 
easy one to transport to the screen. 

When we come to the relations existing between Lee 
Randon and his wife Fanny we find ourselves on more sub- 
stantial footing. Lewis Stone in his characterization of the 
man of restless imagination and Irene Rich in that of the 
nagging, jealous wife to whom the manifestation of love 
is repellant, do excellent portrayals. 

It is with the flight of Lee and Savina to Cuba that con- 
ventional morals get the better of Mr. Hergesheimer. Here, 
in spirit, novelist and scenarist travel divergent paths. 
Yet, curiously, often the episodes of book and film remain 
pretty much the same. Frances Marion's scenario and 
George Fitzmaurice's direction are above the average and 
the settings and photography are beautiful. 




THE LONE WOLF -Paramount 

Till: LONE WOLF" i- a revival of a picturization of 
Xante's novel of that name. 

It is a story of international intrigue and the regeneration 
of a resourceful chap who is known as the cleverest (rook of 
Europe. An otherwise pretty smooth performance with a 
very capable cast headed by Dorothy Dalton and Jack Holt, 
is made slightly ridiculous at the finish by a double aeroplane 
transfer in the clouds, a lot of which was too obviously 
done in a studio. 

The realism of some of the aeroplane stunts that have 
preceded it has not been achieved in this picture and the 
audience is inclined to chuckle. With the except ion of this, 
however, it is very good entertainment and pretty cleanly 
and smoothlv done. 




MEN — Paramount 

THE fiery, heavy-lidded Tola of "Passion" i- back. In 
this story, written and directed by Dimitri Buchowetski, 
there is the passionate, bitter cynicism that becomes h 
well and while the story is a little trashy and its treatment a 
little threadbare, it will entertain if you are a Pola Negri fan. 
The story is that of a gorgeous actress, the idol of Pari-. 
Having been betrayed as a young girl, she resolves, in her 
power, to be revenged upon men. and when she auctions off 
her company for two hundred thousand dollars and then 
gives the check to a young j,'irl standing on the brink of ruin 
she is happy in the thought that she has cheated men of prey. 
Robert Fraser and Robert F.deson and Josef Swickard in 
support arc very fine and the photography rarely beautiful 
in -pot-. Decidedly sophisticated and not for juveniles. 




THE DANGER LINE—F. B. O. 

A JAPANESE picture made in France. And intensely 
dramatic with situations finely drawn. The story is 
the frivolization of a Japanese nobleman's wife. An English 
captain obliterates the third angle of a near-triangle by 
giving his life in a wonderful naval battle. Sessue Huya- 
kawa and Tsuri Aoki, returning to the screen, after along 
absence, give an artistic performance, that is worth seeing. 



UNTAMED YOUTH— F. B. O. 

NO, this is not stealing Colleen Moore's stuff. It is the 
story of a gypsy girl — a real Romany product whose 
unconventional ways make her the cynosure of disapproving 
eyes in a small town. Of course, the nicest young man just 
naturally falls in love with her. Derelys Perdue is a good 
gypsy while Lloyd Hughes, Ralph Lewis and Joseph 
Swickard form the masculine contingent. 




SHERLOCK, JR.— Metro 

BUSTER KEATON with a lot of new gags. He appears as 
a young man with a flair for amateur sleuthing. He has 
radical adventures. This is by no means Keaton's most 
hilarious offering, but it is short, snappy and amusing. Com- 
edies are like oases in a celluloid world, rare and refreshing, 
and you don't want to miss Buster with his immobile face 
and unique composure in his new setting. 



THE TROUBLE SHOOTER— Fox 

FANCY Tom Mix in a real honest to goodness acting part, 
and he's good, too — because he doesn't try to register 
emotion all over the place. He's as simple and straightfor- 
ward in a scene with a girl as he is when leaping into a 
saddle. Tony is here, too, and very much in evidence; and 
a new leading woman— pretty and competent, in the person 
of Kathleen Key. 




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THE WOMAN WHO SINNED— F. B. O. 

MELODRAMA as the title suggests; a moral adorning a 
tale about a minister's wife who leaves her husband and 
the chee-ild for a ne'er do well! The way of the transgressor 
is hard, of course. Finis Fox wrote the story and directed it, 
too. These directors are prestidigitators indeed. Those 
who like flamboyant drama and excitement will have a per- 
fectly wonderful time. Pretty well cast. 

16 



A GIRL OF THE LIMBERLOST—F . B. O. 

HERE is an author who can't complain. Gene Stratton 
Porter's story has been converted into celluloid, and she 
did it all herself, and the result is an accurate film, if not a 
very exciting one. Still, those who loved the book will enjoy 
the picture, and those who didn't read it, will like it, too. 
It is an interesting and human tale — a rare enough combi- 
nation. 





LISTEN LESTER— Principal 

THIS might be titled "Stop, Look and Listen," and you 
would have to do it all attentively, or else you might miss 
a trick, it all moves along so fast. It is, strangely enough, an 
adaptation from a musical comedy. You may remember it. 
It is funny and clean. Harry Myers, Louise Fazenda, Alec 
Francis and Eva Novak are among those present. And 
here's a secret: there are bootleggers in it, too. 



FORTY-HORSE HAWKINS— Universal 

PRETTY good entertainment. Hoot Gibson in a real 
comedy and he is quite funny. Here we have a combined 
local taxi driver, stage manager, hotel clerk and fireman all 
in one in the person of the redoubtable Hoot. And it is all 
a lot of fun. And what with some amusing sub-titles and 
some good situations, this is. by no means, a bad way of 
spending a leisure hour. 




BLUFF— Paramount 

THIS is a story of a girl who, with faith in her own powers 
as a dress designer, uses bluff to sell herself and her ideas 
to the big New York shops. She not only gets away with it, 
but she gets a husband also. The story is by Rita Weiman, 
and Willis Goldbeck has made an amusing picture. Some of 
Agnes Ayres' gowns are wonderful, and the ladies will 
want to see them. Good entertainment. 



MLLE. MIDNIGHT— Metro 

MAE MURRAY'S latest but not her best. Picture her, 
if you can, in doleful mood, with dark make-up and 
black hair in villainous Mexico. The story lends itself to 
action and color of a sort, but it scarcely brings into play 
Miss Murray's little bag of tricks. Of course, all the men 
are in love with her. and Monte Blue rescues her from their 
toils and villainy alike, capturing the .Mexican ki". 



r * 




THE CHECH AHCOS— Associated Exhibitors 

THE chief appeal of this independently made film play lies 
in the sweep of its Alaskan backgrounds. These have a 
real and rugged beauty. The story itself — starting with the 
gold rush of 1897 — is mediocre, the acting and direction are 
indifferent. Yet the making of films such as this should be 
encouraged. A "Covered Wagon" epic could be developed 
from this period of our history. Page James Cruze! 




RIDERS IP Universal 

Wl l.L. girls, here's ("reighton Hale again, and in a 
good role — so what more could you a.-k? A^ for t hi- 
story, it is about a young racetrack tout whose family be- 
lieves he is treading the straight and narrow. The land- 
lady's daughter comes to love the youth just BS he can't pay 
his board bill. There is the home and mother elcmc 
well as race track stuff. [OOMXINUBD on r.v.i 1*5] 



The Photoplay Medal of Honor 

For the best picture released in 1923 

Winners of 

Photoplay Medal 

1920 

William Randolph Hearst 

for "Humoresque" 

1921 

Inspiration Pictures, Inc. 

for "Tol'able David" 

1922 

Douglas Fairbanks 
for "Robin Hood" 

What was the best motion picture of 1923? 





THE two and a half million readers of Photoplay are 
again invited to award the Photoplay Magazine 
Medal of Honor. Their votes will decide to which 
picture of 1923 shall be awarded the trophy that is con- 
ceded to be the mark of supreme distinction in the world of 
motion pictures. 

The ballot boxes are now open. They will close October 1. 
All readers of Photoplay are urged, in the interest of better 
pictures, to cast a ballot for the one which, in their estimation, 
was the best picture released in 1923. 

This is the fourth of these medals offered by Photoplay 
Magazine. The first Medal of Honor, for 1920, was awarded 
to William Randolph Hearst, whose "Humoresque," a Cosmo- 
politan production, was voted the best photoplay of that year. 
The Medal of Honor for 1921 went to Inspiration Pictures. Inc., 
for "Tol'able David," in which Richard Barthelmess starred. 
The third, for 1922, was awarded to Douglas Fairbanks for his 
wonderful production of "Robin Hood." Who will get the 
fourth? 

Photoplay Magazine wishes again to call attention to the 
fact that the Medal of Honor is the first annual commemoration 
of distinction in the making of motion pictures. Voters should 
bear in mind that the award should go to that picture which 
most nearly approaches perfection in the matters of theme, 
story, direction, acting, continuity, settings and photography. 
The decision rests entirely in the hands of the readers of Pho- 
toplay. 

As has been the case for the past three years, the voting is 
delayed six months after the close of the year so that pictures 
released at the end of the year may have the opportunity of 
l)eing seen in all parts of the country. Thus, all photoplays 
are given an equal chance. 



Below will be found a list of fifty pictures released in 1923. 
They are printed in order to refresh your memory. You are not 
limited to them but may cast your ballot for any picture 
released in 1923. 

Photoplay is proud of the selections made by its readers for 
the past three years. "Humoresque," the first winner, was a 
remarkably touching story of mother love. "Tol'able David" 
was a beautiful presentation of the spiritual development of an 
American boy. And "Robin Hood" was a magnificent spec- 
tacle in which, while the story was absorbingly interesting, it 
was overshadowed by the marvelous scenic effects. 

The Photoplay Medal of Honor is worth winning. It is of 
solid gold, weighing \2i y /l pennyweights, and is two and one- 
half inches in diameter. It is being made, as were the other 
medals, by Tiffany and Company, of New York. 

To register your vote in this contest, fill out the coupon on 
this page, printing plainly the name of the photoplay which, 
after careful thought, you consider the best picture of 1923, 
and mail it to Photoplay's editorial offices, No. 221 West 
57th street, New York City, so that it will reach its destination 
not later than October 1, 1924. If you wish to send a brief 
letter, explaining your choice, do so. . 

This announcement, with the coupons, will appear in three 
successive numbers of Photoplay Magazine, including this one. 

Here is your chance to do something towards securing better 
pictures. It is your duty, if you desire better pictures, to cast 
your vote in this contest. By so doing you honor the best in 
motion pictures and you encourage producers to put vision, 
faith and organization behind their product. Don't delay and 
thereby give yourself an opportunity to forget to vote. 

If, by chance, there should be a tie, equal awards will be 
made to each one of the winners. 



Photoplay Medal of Honor Ballot 
Editor Photoplay Magazine 

221 W. 57th Street, New York City 
In my opinion the picture named below 
is the best motion picture production re 
leased in 1923. 



name of picture 



l^ame- 



Address- 



Fifty Pictures Released in 1923 



Abraham Lincoln 

Acquittal 

A una Christie 

A shes of Vengeance 

Had Man 

Big Brother 

Bright Shawl 

Christian 

Covered Wagon 

Down to the Sea in Ships 

Enemies of Women 

Eternal City 

Fighting Blade 

Flaming Youth 

Girl I Loved 

Green Goddess 

Grumpy 



His Children's Children 

Hollywood 

Hottentot 

Human Wreckage 

Hunchback of Notre Dame 

If Winter Comes 

Light that Failed 

Little Old New York 

Long Live the King 

Merry-Go-Round 

Only' 38 

Pen rod and Sam 

Potash and Perlmutler 

Richard the Lion-Hearled 

Rosita 

Rrtggles of Red Gap 

Scaraniouche 



Spanish Dancer 

Spoilers 

The Ten Commandments 

To the Ladies 

To the Last Man 

Trilby 

Twenty-One 

Vanity Pair 

Virginian 

Voice from the Minaret 

West of the Water Tower 

Where the Pavement Ends 

White Rose 

White Sister 

Why Worry* 

Woman of Paris 

Zaza 



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"As for marrying you, not if you were the last mini on earth. And now take your old bracelet 

and get out of here" 

The Love Dod 




A story from behind the 
curtained windows of Hollywood 



Part Five 

IT was perhaps not at all strange that Cleveland Brown 
should go first to Leda O'Neil. 
It was altogether a crazy sort of business, he decided, as 
he dressed. And yet something in him responded to it. lie 
couldn't help laughing a little and being a little excited. He 
didn't suppose anyone else in Hollywood had ever done such a 
thing, and he was getting rather more out of life than he used to, 
when he dodged love and women much more successfully. 

Probably Paula Swayne was right. One had to marry some 
time. Few escaped. Certainly this was an unheard of and 
impudent way to select a wife. It had been forced on him. 

He tried to visualize each of the four women as his wife, and 
failed utterly. 

He would know, this very night. His pulse increased a trifle. 
There was no way of guessing where his quest would end. But 
if he had a secret hope it was that the ruby bracelet bore the 
lucky charm, that some miracle might show Leda O'Neil to be 
the woman with whom he wished to sail the seven seas. 
First, he must know about Leda. 



By Adela Rogers St. Johns 

Illustrated by Arthur William Broun 



The lour Sal boxes were .slowed carefully in the side pocket 

of his big roadster. As he drove through the bright, pretty 

streets of Hollywood, lie said to the chauffeur beside him, 

"WC'd belter not gel held up this evening, Bennie." 

\ maid let him in. 

He had telephoned to say that he was coming. Experience 
was not always wasted upon Cleveland Brown. The butler 
brought back word that Mi-s O'Neil was going to the theater 
but she would wait for him. 

Now tin' maid said, " You're to go right up. sir." 

But Cleveland Brown shook his head. Me wasn't going up to 
that grey and black room. Not he. There were some thing 
man couldn't do. 

And he felt a slight doubt, like a breath of fog on the sunset 
ocean, that Leda hadn't realized that. It Struck a discordant 
note. It seemed to shrug its shoulders at what had happened in 
that grey and black room, as though it wire an everyday 
occurrence, like eating luncheon. 

"Tell Miss O'Neil I'd like her to come down." he said, and 
went into the drawing room. 



Panic overcame him while he waited, walking nervously up 
and down. Only one lamp burned, a gold and purple thing that 
shed a small, weird circle of light. The corners of the room were 
in a rich darkness, a darkness that might hold anything. 

Through the wide, arched doorway, he could see her as she 
came slowly down the wide stairs — those stately, elegant stairs 
that were a test for any woman. One slim hand rested on the 
polished rail, for support. But she moved with the luxuriance 
of a queen. 

He had never seen her in black before. But she wore black, 
a tight-fitting thing of shining satin, exactly the color of her 
hair. Over it fell some soft, exquisite folds of black lace. And 
there was one vivid splash of a deep red, like rubies, at her 
waist. It made her a study in black and white, with a little 
distinguished air that was new. Even her throat was covered 
with a second skin of black lace and the long, flowing sleeves 
fell to her wrists. It made her look much older. And for all its 
cool distinction, it suggested the slim, round lines of the body 
beneath in a way to set a man mad. 

But for all the fine beauty of her, he was conscious for the 
first time of some slight breath of decay, something vague and 
dim and impalpable that was nevertheless sweetly foul. 

They stood looking at each other and the thought came 
swiftly to Cleveland Brown that it was not meant she should 
belong wholly to any man. A symbol of desire, a creature 
fashioned for some fate other than that of ordinary women. Of 
such stuff had been DuBarry and the orange girl of Drury Lane, 
and the green-eyed empress of the Nile. 

He remembered that the ancient nations had honored the 
profession of love. A great courtesan was a daughter of the 
gods. Leda — Leda belonged to those times. To those 
customs. 

How could he expect the constancy and the stolid purity of a 
milkmaid from this handmaiden of Aphrodite? Wasn't it 
enough that he had possessed and enjoyed her? Why couldn't 
they leave it at that? Could one turn Chryses into a cook by 
any mere set of words or ceremonies of men? 

Was that perhaps all his trouble? That he had secretly ex- 
pected too much of love? 

Leda O'Neil watched him. Her lips parted and she kept 
making an effort to close them. 

At last she said, "Sweet, you've been thinking of what I 
said? I knew you would." 

But then how could she look at him like this? That was the 
thing that tricked him, that he could never understand. For 
her eyes were simple and deep and 
lovely. They should not be. That 
was the trouble with the modern 
day. Everything was confused. 
There was no proper order to 
thiggs. Nothing had a name any 
more. 

No wonder men feared the fig- 
urante life that women led today. 
They knew too many men. Op- 
portunity was too frequent and 
too easy. Temptation was their 
daily companion. How could they 
be as they had been when protec- 
tion and seclusion were the order 
of the day? 

She came toward him and from 
some instinct of self-preservation, 
that he might not take her in his 
arms before he made Paula 
Swayne's test, he put his hand in 
his pocket and held out to her a 
flat, velvet box. 

On their bed of smooth white- 
ness, the rubies lay like drops of 
blood. Cleveland Brown knew 
nothing of jewels. Their fascina- 
tion was strange to him. But 
something in their perfection, in 
their rich, deep color so much 
more beautiful than any color he 
had ever seen, stirred him. A rich- 
ness that stifled. 

Leda O'Neil took the bracelet 
of rubies from the box and held it 
up to the light. 

And Cleveland Brown stood 



That Vifhich Has Gone Before 



TO Cleveland Brown, the most eligible bachelor 
of Hollywood, there have come many experi- 
ences. All matrimonial. Regarded as a woman 
dodger, and a fearer of love, he has known only 
one girl intimately — Janice Reed, his little lead- 
ing lady, whom he thinks of as a kid sister. When 
Ray Connable came into his life, with a false 
report of an engagement to him, he did not dem- 
it, for she was jobless and needed publicity. 
When Leda O'Neil, super vamp, both upon the 
screen and in private life, met him she gave him 
his first lessons in passion. And when she proved 
her faithlessness to his trust, he reacted to the 
mother woman — Gertie Morrison, the divorced 
wife of an erstwhile friend. Her proposal of mar- 
riage startled and frightened him. And it took 
Paula Swayne, brilliant portrait painter, to give 
him the light of reason and a way to go. Janice's 
mother suddenly tells him that he has com- 
promised her daughter, Ray threatens breach of 
promise, Leda begins again to exert her wiles, and 
Gertie — waiting quietly in the background — is 
even more ominous than the rest. It is Paula who 
suggests a unique test — that he give a beautiful 
bracelet to each of the four women. And that he 
marry the one who shows the most sincere 
pleasure and the greatest graciousness in the 
acceptance of his gift. She goes with him to buy 
the bracelets, and starts him upon his strange 
quest in search of a bride. "You yourself will 
know," she tells him, "the right choice. This 
test of mine will show you. / know, now!" 



turned to stone before the spell they cast. Her face had 
changed utterly. Greed had descended upon it. Greed and all 
the unlovely things that go with greed. Her lips were hard, 
hard and tight with pleasure. Her eyes were bright with the 
desire to possess this thing, which is not a nice desire to look 
upon. 

She could be bought, she could be bought. 
"How wonderful," she said, "real pigeon bloods. Are thev?" 
"Yes." 

"I've never had any good rubies. These are magnificent. 
You adorable boy. Why — it's worth a fortune." 
The lace sleeve of her gown fell back. 

And with a strange finality, like death. Cleveland Brown 
knew that his quest had not ended yet. 

For on her round white arm there were many other bracelets. 
It was the fashion to wear many bracelets. Leda O'Neil was 
much in fashion. 

Other men had given her those bracelets. Each one repre- 
sented — what? Other men had given her many gifts. 

There was no joy for Cleveland Brown — who was so young 
and simple — in an attempt to arouse a jaded delight. He could 
never give her anything — anything — that other men had not 
given her before him. Why hadn't he seen what that must 
mean? 

For all her beauty, how weary and worn she looked. His 
imagination, stimulated by this gambling with fate, played him 
a strange trick. He saw her stripped of all that alluring flesh, 
all that divine beauty. And there was nothing left. Nothing. 
Nor was there anything between them. For Cleveland 
Brown saw clearly that a physical bond — a merely physical 
bond — is nothing. It crumbles at the slightest touch, back into 
dust. No soul has been breathed into its clay to give it life. 

In that moment he felt a great pity for Leda O'Xeil, a great 
pity for himself that he had almost — not quite — thought he 
might love her. He saw her for one of those women who can 
never give bodily fidelity, even when she gave love. And he 
guessed that life would grow very stale and almost unbearable 
to her. 

When the beauty died and left her only unornamented desire. 

the applauding throngs would cease to excuse her faithlessness. 

So, when she fastened the bracelet about her wrist and held 

it out to be admired, he took her hand and kissed it very 

tenderly. 

And he turned and ran out into the night, leaving her stand- 
ing beneath the purple light with the bracelet of rubies bound 

about her wrist. 

He could have shouted. He 
felt, gladly, magnificently, cleanly 
free, as a man is free from some 
lingering germ of a fever. He 
knew that until that moment he 
had never given up hope that 
Leda would be his as he wanted 
her to be his. 

How could a thing like that be 
gone so completely, as though it 
never existed, leaving behind not 
a single trace? 

Dust to dust. That was all. 
Dust to dust. 

He thought of Paula Swayne 
a nd these bracelets she had selected 
for him with an almost super- 
stitious dread. Were they be- 
witched? Or was Paula Swayne, 
who knew so much about men and 
women and life, right? Was giv- 
ing gifts to women always the 
test? If they could be bought; if 
they could be tempted; if they 
were shopworn; if they pretended 
(that worst of all sins against 
love) ; if they were sordid or weary 
or incapable of generosity or fine- 
ness of appreciation of beauty, or 
enjoyment, was it bound to come 
out, like the invisible writing upon 
a paper when the right alchemy 
touches it? 

There was a light, that warm 
beam that shines from a light- 
house into the stormy ocean, in the 



50 




" What's this, dynamite?" ulic asked. "Do I "/« 



windows of Gertie Morrison's brown bungalow. Cleveland 
Brown drew a quick breath as he went up the steps. He would 
hate to lose this out of his life. The heliotrope and roses in the 
window boxes wafted perfume to him on the night air. There 
was a baseball bat and a glove thrown carelessly in one corner 
of the porch. 

Buddy. He'd miss Buddy so. This missing people was the 
very deuce. 

Was this, then, the thing for him? A quietness fell upon him. 
And a simple faith transformed the pagan thing he was doing 
into a serene and honest prayer for guidance. 

Gertie was like that. He felt better, nobler, when he was 
near her. Rather than give up her friendship, rather than give 
up Buddy, he would sacrifice much. He would sacrifice even 
this new desire for something he could not name. 

She came to the door herself, and there was an instant look of 
pleasure on her face. He knew she had not been expecting him, 
but she looked sweet and almost elegant, in her gown of gray 
chiffon, like a lady who dresses for her own daintiness and not 
for the approval of some spectator. 



"Oh. Brownie," she .--aid. half-laughing. " I'm so gl.nl 
you. So glad. Come in. My dear, my clear, how we have 
missed you. Why have you neglected us? " 

Then memory served her and she blushed under lnr clear, 
pale skin. 

''I forgot, but I don't care," she said bravely. "Buddy's 
been having a fit. that's all. He thought you'd deserted him 
completely. Oh, sit down. I'm keeping you standing just t" 
look at you, it's so good to see you here again. Will you have 
some coffee? Please, please do. Have you had vour dinner? 
Honestly?" 

He told her that he had. but she wouldn't believe him. Sin- 
was suddenly pitifully nervous. 

"You have UOt, Cleveland Brown. I know you haven't. I 
can just tell by the look in your eyes 

She was childishly delighted. It was as though the fact that 
he hadn't eaten any dinner was the very thing she needed to 
restore her confidence and bring her happiness. 

Gertie Morrison was one of those women who must feed men. 

She made him sit down in front | contim 1x6] 



61 




This is the way Pat O'Malley trains to keep his balance when he is the third 

angle in a screen triangle. Probably it does steady the nerves. Pat used to 

do this for a living, but acting is easier 



TOURING the filming of "Monsieur Beau- 
-*— ' caire," Rudolph Valentino moved alone 
over the sets in the studio and anyone who 
approached him was, if not successfully shooed 
away by his valet, frozen into respectful silence 
by a look from the star. Even members of the 
cast, by orders of Mrs. Valentino, were for- 
bidden to remain on the set when he was work- 
ing. He was screened in when he sat down, 
waiting for his double to complete the hot and 
tiring business of getting the lights trained on 
him correctly. 

Before the picture was finished, everyone 
having anything to do with it had been taught 
his place — all except Harry Reichenbach, in 
charge of the picture's exploitation. 

On his first visit to the Long Island studio, 
Mr. Reichenbach brought with him an inter- 
viewer from a magazine, for the purpose of 
introducing her to Valentino. 

He rapped on the door of Valentino's dress- 
ing room and when the valet appeared told him 
to say that Mr. Reichenbach was calling. The 
valet closed the door after him carefully and 
for five minutes nothing happened. 

Finally he reappeared. 

"Mr. Valentino says you are to see Mrs. 
Valentino." 

The thousand-dollar-a-week press agent 
stared for a moment. Then, walking off, said 
over his shoulder: "If Mrs. Valentino has any- 
thing to say, tell her to phone Mrs. Reichen- 
bach between seven and eight some evening." 

T^NOUG has played opposite Mary at last! 
*-s Although the fact has been kept secret, 
Fairbanl* actually appears in Mary Pickford's 
production of "Dorothy Vernon of Haddon 
Hall." Watch for the first introductory shot 
of Allan Forrest as the hero. Forrest, in reality 

52 



Doug himself, is seated, stripped to the waist, 
and back to the camera, talking to his father. 
Unless your eyes are keen, you will miss this. 
But Doug has confessed to the appearance, so 



Studio 

By Cal York 

V/ritten from the inside of 

the Hollywood and 

l\[ew Yor\ Studios. 

If you read it here it's so 



that's that! All of which is something like 
Charlie Chaplin's brief — and disguised — ap- 
pearance as the porter with the trunk in "A 
Woman of Paris." 

"Dorothy Vernon" had an interesting 
Broadway premiere. The Criterion Theater, 
long the home of "The Covered Wagon," had 
its exterior transformed into a mimic Tudor 
castle for the occasion. There was a typical 
premiere audience. Mary and Doug weren't 
present, of course. At the moment they sat in 
the Crillon Hotel in Paris, anxiously awaiting 
the first nighters' verdict. 

A LL Hollywood is commenting upon Mary 
■* *■ Pickford's extraordinary beauty in "Dor- 
othy Vernon of Haddon Hall." Never in her 
whole screen career, is the united opinion of the 
screen experts, has Mary looked so exquisitely 
beautiful. Even the long remembered scenes 
in "Stella Maris" are overshadowed by some 
of the close-ups in "Dorothy Vernon." 

More than that, everyone seemed to feel that 
it is Mary's best picture and that it should 
overcome for all time any prejudice against her 
appearance in grown-up roles. As Dorothy 
Vernon she keeps all the fire, all the tricks and 
mannerisms, that made her so beloved as 
Rebecca and Pollyana. And to them she adds 
the charm and appeal of an extremely beautiful 
young woman. Her comedy has never been 
more brilliant. 

It has leaked out somehow — as everything 
does — that there were four sets of costumes 




This really is a scene from " The Perfect Flapper," although it doesn't look it. 

The characters in this picture are so crazy about wild parties that they hold one 

while the house is being moved to a new lot 






News and Gossip East and West 



made for Miss Pickford for Dorothy before she 
found exactly the right thing. Mother Pick- 
ford objected to some of them as being too 
womanly, and Mary herself objected to the in- 
correctly childish ones. The final selection ' . 
entirely perfect. 

When he had seen it the first time, Charlie 
Chaplin turned to someone and said, "T never 
knew before that Mary Pickford was a beauti- 
ful woman." 

THERE is a growing conviction in the in- 
dustry that Rupert Hughes is the greatest 
of all title writers. One of his most recent ones 
i- causing a lot of mirth on the Goldwyn lot. 

The young llapper is about to start out on a 
party when her irate father appears and says: 
"Young lady, you're not going out of this 
house tonight. You certainly are not. I won't 
allow it." 

Whereupon said flapper looks him over and 
says sweetly, "Oh, father, don't talk like a 
»ostume picture." 

DID you ever wonder where the word "ham" 
came from — as used to describe a certain 
all-too-prevalent type of actor? 

A discussion at the Directors' Club the other 
chn- revealed its origin when Fred Xiblo de- 
clared that it started as "ham-fatter" because 
the actors in the early English theater used to 
remove their make-up with ham fat. Later it 
was contracted to "ham." 

ELIXOR GLYX is to make her own motion 
pictures. Although she proved such a good 
sport about Conrad Nagel's performance as 
Paul in "Three Weeks" that on the opening 
night in Los Angeles she paid him a magnificent 
tribute, there is no question but that incident 
and similar ones have decided the most popular 
English authoress to start an organization 
where she will be able to dictate policy. 

For some time this idea has been in her mind 
and she believes that there is a field for her 
Stories made exactly as -he wrote them, and 
with the fine and polished touches of real old- 
world society which she feel- she alone can give 
them. Her daughter, Lady Williams, who came 





Presenting the Keaton family in total From left to right: Robert Talmadge 
Keaton, in his very first pose; Natalie Talmadge Keaton, "Buster" — par- 
don us — Mr. Joseph Keaton, and his eldest son, Joseph Keaton, Jr. 



Jobyna Ralston caught in the art of hat ii<g ha- Ik aulifid chestnut curls cut eft. 

Harold Lloyd pulls In r '"nirarl on her — which has <m anti-bob clause in it, the 

first in Hollywood— and reminds Jobyna thai it simply can't be done 



with her from London recently and will remain 
in Hollywood, i- to assist in preparing the 
>toric- tor the screen and her son-in-la 
Kin- William-, will be her business manager. 
We'll see. At least her pit tures cannot be 
worse than some of her ;.torie-. 

THERE i- a fairly < 11-grounded belief that 
a strong personality will always leave it- 
impress upon a community. 

The late-t impress to In- lefton Hollywood i- 
the Erich von Stroheim low. You kno 
it i- done, because you have >ccn Von do it on 
tin- screen— heels together, >titf bend from the 
waist. And if the I o v i- being made to a lady 
ii generally i- concluded with a chaste salute 
upon the lady- hand. 

Xow nearly every young actor in Holly 
iy nothing of scenario w riter- and : 
agent-, ha- adopted this bow. The imitation 
ir-n't always of the best and no one doc- it -o 
well as its originator, but nevertheless the 
fashion is fast spreading and you can 
practiced almo-t any evening at the Pctrou- 
shka, or the Montmartre, or even on the 
Boulevard. 

Every time they do it someone should blow 
a whistle or ignite a firecracker behind them. 

THIS i- a story of a birthday pre>cnt. I'm 
not going to mention any name- but I'll 
make it a- easy lor you to guess a- I can. 

A well-known director and hi- wife, a beauti- 
ful screen star, separated not very long 
and the h^band's attention to another -c reen 

53 




When Rex Ingram makes a discovery, the American home gets a severe trial. 

Now comes Alexandresco, a Roumanian actress, to catch the roving eye of our 

masculine contingent. She will play a dancer in " The Arab" 



I give you my word. One of the kind that 
played a little tune when the young lady 
smoothed out her golden-brown tresses. 

I do not know for certain what tune it 
played, but rumor hath it that it alternated 
between "You can have him, I don't want him, 
'cause I never liked him anyhow" and "Silver 
Threads Among the Gold." 

LAURETTE TAYLOR, accompanied by her 
husband, Hartley Manners, is back in Holly- 
wood, looking younger and prettier than ever. 
It's always difficult to realize that "Peg" is the 
mother of a grown-up son and a debutante 
daughter, because she looks just as she did 
when she first played the immortal Irish 
heroine at the old Los Angeles Burbank 
Theater down on Main Street, a decade or 
more ago. 

She is to make "One Night in Rome," one of 
her stage successes written by her husband, for 
the new Metro-Goldwyn Company, and she 
will be directed by Clarence Badger. 

CHARLIE CHAPLIN is one of the most 
absentminded birds in this world, and it 
takes him longer to get around to do things 
than anybody else that was ever heard of. The 
latest thing he's neglected to do is buy furni- 
ture for his elegant new mansion in Beverly 
Hills. 

The house is there in all its grandeur, occupy- 
ing the adjoining hill to Pickfair. It's a 
wonderful house, that cost a small fortune, and 
it has an organ in it, and a lot of expensive 
fixtures. But as for furniture — well, so far, 
Charlie just simply hasn't gotten around to do 
it. There is a bed in his bedroom, and a table 
and a couple of chairs in the dining room, but 
after that Charlie's courage or energy or some- 
thing failed him miserably and he let it go at 
that. 

Possibly what Charlie needs is a wife to help 
him select it. 

THE separation of Bert Lytell and his wife, 
Evelyn Vaughn, which has been rumored 
for some months, is officially confirmed by the 
parties interested and the statement issued that 
Mrs. Lytell will sue for divorce in the near 
future. They have been practically living 
apart for over a year and have come to a final 
decision that a divorce is the next move. 

Everybody hates to see the Lytell marriage 
go smash. The romance which began twelve 
years ago when they were co-starred in a 
popular San Francisco stock company has been 
one of the stage's most delightful chapters. 



actress, a young unknown whom he is en- 
deavoring to put on the pictorial map, were 
noted with much disfavor by the film colony. 

The young lady in question was advancing 
her own cause as fast as she possibly could, and 
incidentally she wasn't averse — young ladies 
seldom are, at least that kind of young lady — 
to accepting such tokens of his esteem as it 
seemed fitting he should bestow upon her. 
When her birthday neared, she gently hinted 
through some of the company that her prefer- 
ence leaned toward a sapphire and diamond 
bracelet, or a diamond wrist watch. 

But the director is rather famed for his 
ability to make a nickel go as far as the next 
man. He may have spent some money some 
time in his career, but there is no record of it. 
It has even been necessary on occasion for the 
sheriff's office to collect his bills. 

Birthday arrived. Package was delivered to 
young lady, who opened it with much excited 
rejoicing. Within was — a musical hairbrush. 



Bitt Hart won't have a leading woman 
%vho is not an equestrienne so, when 
Phyllis Haver went into the cast of 
"Singer Jim McKee," the riding les- 
sons started. But Phyllis is cagey. 
She picked a safe horse 




5k 



Miss Vaughn is an extremely talented actress 
and is very popular with the film colony. 

Whether or not Claire Windsor is to become 
the second Mrs. Lytell, when it's possible for 
Bert to select a number two, nobody knows. 
They have been seen constantly together of 
late, but when you ask Claire if her intentions 
are serious, now that Bert is to be free, she can 
only blush and stammer and admit that she 
thinks he is "the nicest man in the world." 
He likewise agrees that Claire is the loveliest 
girl, and that he's very fond of her. 

MR. AND MRS. THOMAS H. INCF. gave 
a perfectly corking supper dance at their 
wonderful new home in Beverly Hills the other 
evening, following a preview of "The Marriage 
Cheat," the newest Ince picture, at the studio. 
The dance was also in honor of Mr. and Mrs. 
Charles Ray, who had just returned from the 
East. Charlie Ray has signed once more to 
make pictures for Ince. 

Of course there is no question of the value of 
Ray's move. His pictures made on his own 
have been abject failures, culminating in that 
atrocity, "The Courtship of Miles Standish," 
which is uniformly regarded in the industry as 
the dullest picture ever made. When he broke 
with Ince, the break was a personal as well as a 
professional one, and it argues hopefully for 
Charlie that he is willing to go back to the man 
who made him and under whose direction he 
made the pictures that brought him fame and 
say, "I've been a naughty boy, please take me 
back and let's make some real pictures," or 
words to that effect. 

Among the guests of the evening were Dick 
Rowland, Mack Sennett, Norma and Con- 
stance Talmadge, Marshall Neilan and Blanche 
Sweet, Pola Negri, Eugene O'Brien, Jack Pick- 
ford and Marilyn Miller, Mr. and Mrs. 
Abraham Eehr, and Kathlyn Williams and her 
husband, Charles Eyton. 

HPHIS is the latest gem that is going the 
*■ rounds of Hollywood's wits and wise- 
crackers. I don't know how it got out, but 
somebody vouches for its authenticity. 

Lew Cody had invited Claire Windsor to 
attend the opening of "Secrets" with him. 
And she had accepted. That evening about 
seven o'clock she called him up on the 'phone 
and said, "Oh, Lew, I'm so sorry, but I can't 
go to the opening of 'Secrets' with you after 
all." 

Lew said, "Why not? You promised." 
And the fair Claire said, "I know it. But 
since then a producer has called up and invited 




He's back again, lie has decided the public wants the funny little mustache, 
the baggy trousers, the derby and the cane, so Charlie Chaplin will feature 
them df/diii in liis new picture, some of the scenes of which are laid in Alaska 




me to go witli him. I know you won't mind." 
Lew recovered from that and called up 
another young lady and finally persuaded her, 
in spite of the lateness oi the hour, to go with 
him. In fait, he convinced her that she had 
promised to go and had merely forgotten about 
it. A- they came out of the lobby after the 
performance, Claire rushed up to him and -aid. 
"()h. Lew, I hope you're not mad with me 
..I cut tonight." 

It made it very tough for Lew, and his lady 
of the evening gave him a dirty look as they 
got in the car, and demanded. "What'- this? 
Am I understudying Claire Wind-or this 
evening?" 

But you must give Lew credit. lie works 
fa i. ll< said, "How can you think of such a 
thing? That wasn't it. Whal she meant 
that -he told somebody -he'd rather have 
Adolphe Menjou for the heavy in a picture she 
was in than me, and she thought I'd be sore at 
her about it." ( CONTINUED ON PACK OO ) 



Believe Oris, if you wish. We think 

it's ii press-agent story. This ,■ 

an i in ported English Angara, must 

hare his t<u every afternoon at four. 

Margaret Livingston, who imported 

trim, I sirring 



55 




"/ liked her from the start," says Harold of Mrs. Lloyd, "but it never occurred 
to me that I was going to fall in love with her" 



Part III 

TWO very important things happened to me about the 
time my first two-reelers were released. I didn't realize 
the importance of them then, maybe, but I've discovered 
that it's only in looking backward that things in your 
life stand out in their real significance. 

Anyway, I made my first trip to New York and Mildred 
Davis became my new leading woman. 

After Bebe left to go to Lasky, we began looking around for 
a new girl to play opposite me. I had an idea that it would be 
a good thing to get a girl as directly opposite to Bebe in every 
way that we could, so the new individuality would stand out 
more. One night I went to see a picture of Bryant Washburn's. 
There was a girl in it, and she was the cutest thing I'd ever seen 
in my life. She was little and blonde, too, exactly what I had 
in mind. Gee, she sure looked pretty! 

I nudged Hal Roach, who was sitting beside me, and I said, 
" Hal, that's the one." He nodded. 

But it wasn't so easy as it sounded. We discovered that her 
name was Mildred Davis, but that was all. We simply couldn't 
find her. She was a Philadelphia girl who'd come West for a 
vacation and made that one picture and nobody seemed to have 
any idea where she'd gone. We wrote to Philadelphia and 
didn't get any answer. At last we located her in Tacoma, 
Washington, in a girls' finishing school and wired her that we'd 
like to talk things over with her. 

The more I realized how inexperienced and young she must 

r,n 



The Autobiography 
of 

Harold 
Lloyd 



From $150 a week 

to a millionaire. 

His courtship and 

marriage 



be, the more anxious I was to get her, because 
that was exactly what I wanted in the sort of 
pictures I had in mind to do. On the screen, 
she reminded me of a big French doll. 

I'll never forget the awful shock I had 
when Mildred first walked into the studio. 

She was wearing a large black hat with a 
lot of plumes on it, and a long, grey dress, 
and a black fur collar. Her hair was done up 
in a sort of pompadour and on her little feet 
were a pair of high-heeled laced shoes. I 
was stupefied. I thought, "Well, she's 
pretty, all right, but where in the world did 
she get those terrible clothes, and will she 
want to wear that kind in my pictures? - ' 

But I found out after a while what the 
trouble was. Mildred had become dis- 
couraged about pictures and left Hollywood, 
because everywhere she went they told her 
she was too young. If she applied for a part , 
they looked at her, with her blonde curls and 
her tiny figure, and said, "My goodness, you 
won't do. This isn't a child's part. You're too young." 

Too young became a red flag to Mildred, so when she called 
on me she hired a wardrobe. She almost lost the job with me 
because she wore it, too. But I thought we could probably 
teach her to dress better so I took a chance and engaged her. 
In the first picture she clung to the illusion that she must be 
grown-up, and she wore a long black dress in the first reels, but 
fortunately she had to wear pajamas in the last part and in 
those she looked too cute for anything. 

Right from the start, Mildred fitted into the company and 
was successful in her work. We've always been a sort of clan- 
nish company. Today, all my gang have been with me over 
three years, and most of them eight or nine. Fred Newmeyer. 
one of my directors, has completed his ninth year. Mildred was 
a hit with the gang right away, because she was always so 
bright and happy, and so game for anything. We're a great 
outfit for practical jokes and little games of one kind and 
another, and Mildred never got sore about anything. 

I liked her from the start, but she seemed such a baby. I had 
an idea that I ought to keep a brotherly eye on her, while we 
were working, and I did, but it never occurred to me to fall in 
love with her. I'm a cautious person in many ways, and it took 
me about a year to get acquainted with her, and it was another 
six months before I began to take her out much. 

And in the meantime, the New York trip took piace. 
I had always longed to go to New York. It was my favorite 
dream. I'd always imagined how I would plan for it, anticipate 
it, and how stupendous it would seem. As it happened, I went 



The First Time He Saw 
His Name in Electric Lights 

On my first walk up Broadway, I got 
the biggest thrill I have ever had in my 
life. I came suddenly face to face with 
my own name in electric lights, on Broad- 
way. My knees actually knocked together. 
I walked around the block and came back. 
It was still there. "Harold Lloyd in 
Bumping into Broadway." All of a sudden 
it began to blur and get sort of dim, and I 
thought they where going to take it down, 
and then I realized that I couldn't see 
very clearly because there was a mist in 
front of my eyes. 



wilh just one hour's preparation, all alone, 
and I arrived in New York without a friend 
in the town. 

This is the way it happened. 

Hal Roach and I had had one of our spats. 
We've been pals for ten years, and we still 
are, and I hope we always will be. But we're 
like a lot of married folks. We do differ on 
occasions. 

The first one we ever had was about my 
getting up in the morning. The director had 
a lot of other scenes to shoot and didn't need 
me before noon. So I decided I'd take a nice, 
long sleep that morning. I'd been getting up 
around six to get to Culver City and be made 
up by nine, and I thought it was pretty 
grand to sleep. So I was enjoying a real 
snooze when the telephone rang. I answered 
it, and it was Hal. 





His grandmothe r, 
Mrs. Surah Frost c 

has always been close 
to Harold's heart 



"When Mildred retired "■->■ my leading lady, we selected little Jobjna 
Ralston to take In r plaa " 



He said, "Look here, Harold, why aren'l you at the studio? 
Don't you realize it's bad for the morale of the company for you 
to show up at noon? I can't have it. that's all." 

I explained. We argued. One word led to another and 
pretty soon I banged up the 'phone, or he did. or we both did. 
I was sore, too. I was through. I'd been treated pretty badly. 
I fumed and stewed around for a while and then I began to 
think. I thought about pood old Hal. how tine he'd always 
been, and what good friends we were, and how we'd started 
together and all. 

I decided it was never worth while to quarrel unless you were 
actually standing on principle. So 1 got on my clothes and 
went down to the Studio about eleven o'clock. At the door I 
met Hal, and he said. "Why. hello. Harold. I was just trying 
to 'phone you to say you needn't get out until about two. 
They won't need you until then."' 

Hut the row that brought about my trip to New York was 
about salary. I was getting a hundred and fitly by that time, 
which seemed a lot. and it was in my contract that 
at a certain time I was to get three hundred. When- 
ever I thought about that. I got all excited. 1 had 
so many plans, and with three hundred a week I 
could fix up my folks better, and begin really lo get 

ahead. 

When the day came, they called me in and told mc 
they simply couldn't ( continued ox page 113 1 



57 




As Robert Stafford in "Bought 
and Paid For" 



As Ned Trent in " The Call of 

the North" 



J 



ack 
Holt 



By 

Helen 

Taggart 



Y ( 



"OU'LL find Jack Holt 

a real he-man," said 

the editor. "He loves 

horses and used to 
play heavies." 

But the editor didn't say 
whether the he-man loves in- 
terviews, and I approached the 
studio where this "he-man" 
was to be found, with some 
trepidation. It was necessary 

to venture as far from Broadway as Ninth Avenue to track 
down this vara avis of the thespian cult and discover a real 
he-man in his native habitat. Mr. Holt was on the set, con- 
ferring solemnly with his director. Mr. Holt was tastefully 
decorated with Number 16 face powder, not only his manly 
face but his exquisite dinner jacket. Mr. Holt was making an 
heroic effort to be cordial. 

"How do you do?" he said, with that genteel grace which 
subtly included, "Drop dead!" as he drew up a chair for me 
and seated himself in another, labelled "Miss Dalton." He 
looked tired, bored and unhappy, and he opened the conversa- 
tion w'th the naive inquiry: "What could possibly be interest- 

68 




Regular 
HcMan 



'I li\e my family, my horses 
and my dogs," he says. 
"Also, I prefer to play 
villains, but there is more 
money in being a hero." 



ing in what I might have to 
say?" 

" Say anything you like. You 
won't have to read it." 

"Oh, but I will. I always 
read interviews." 

"Still you never find them 
interesting?" 

"No," said the he-man with 

feminine inconsistency. "I've 

said I have a happy family. 

That I enjoy my work. That my hobby is horses. I can't 

change my hobbies every few days just to furnish new angles. 

Let's just sit and talk and not be interviewed." 

And we did, with the conversation developing that Jack 
Holt detests New York and that half of his apparent misery 
was induced by it, that he loves Hollywood, which is a blessed 
region peopled by the simplest and most discreet backbone 
of the nation, and that he has no vanities. When I told him 
teasingly of having overheard the prettiest and most petted 
chorus on Broadway raving about him in the dressing room, 
and repeated some of their rather frank observations, he was 
uncomfortable and got up to borrow [ continued on page 107 ) 



AS the Princess in 
iVThe Thief of Bag- 
dad," Julanne Johnston 
is so dainty and adorable 
that one cannot find it 
in his heart to blame 
Douglas Fairbanks, 
when, as The Thief, he 
undergoes innumerable 
hardships to find the 
gift that will win her 



Edwin Bower Hesaer 





Richee 



IT'S hard, sometimes, to take Rod La Rocque seriously. Even as a wastrel, he is always 
likable. And as a hero he seems often to be laughing at himself, to be playing with his 
tongue in his cheek. But he's to be starred now, and that's serious enough for anyone 




Richee 



THE embodiment of sophistication, a man who can express more with a quirk of his 
mouth or a lift of his eyebrow or just a glance than many actors with a whole bag of ges- 
tuies. Adolphe Menjou is rapidly approaching the top oi thz ladder to motion picture fame 




R 



ICHARD BARTHELMESS, Mary Hay Barthelmess and their boss— Mary Hay 
Barthelmess, Jr Being a girl, she naturally turns to Dick 




£tagg 



M 



AKING pictures is play for ""Our Gang," but this is real work. Here they are — Mary 
Kornman, Freckles, Farina, Sunshine Sammy — who has a private tutor (at right) 
and the rest, all at school on the Hal Roach lot 



No, Bradley King 
is Not "Mr. 



She is a beauty with brains, and 
is a "comer" as a scenario writer 



Other scenario u 
shied at adap 

1 " Imt 

Bradlt y King <lnl it and 

liiiulr ii slrtl 1 1, :i 




WHEN I was invited to have 
lunch with Bradley King, who 
had suddenly burst through the 
ranks of scenario writers with a 
masterpiece in the screen adaptation of 
''Anna Christie," I expected to meet an elderly gentleman with 
long white whiskers. 

I don't exactly know why, but that was the picture conveyed 
to me by the name Bradley King. Sounded English, and 
middle-aged, and imposing. 

At The Writers — the big rambling club on Hollywood 
Boulevard where all the brains and some of the beauty of 
Hollywood-gather daily for luncheon — I stood on one foot and 
then the other and cursed, mildly and silently. One is not 
allowed to curse loudly at The Writers. It was a gorgeous day 
ana I didn't feel in the least like lunching with an elderly 
scenario writer with long white whiskers. 

j ust then a young and very pretty girl, with stunning blue- 
gray eyes under black brows and lashes that instantly rivet 
your attention, came up. She had on one of the trickiest 
scarlet sport suits it has ever been my good fortune to behold, 
and her bobbed black hair looked very dashing beneath a felt 
sport hat. 

So I say to myself: "Who is this cutie, anyway? I don't 
know her. Why is she at The Writers? She looks like she 
belonged over at the Montmartre where the jazz orchestra and 
the handsome leading men hang out." 

Just then she said in a nice, boyish voice: "I say, I think I'm 
looking for you. I'm Bradley King." 

"You're not," I said. 

She grinned. "All right. Prove it." 

Then we both laughed and I rather like to think we've been 
friends ever since. Because Bradley is the sort of girl you like 
to think you're friends with. 

Miss King — she says everybody writes to her as Mr. King, 
but she doesn't care — has been writing scenarios for Thomas H. 
Ince for a couple of years — and good ones, too. But in this 



By Mary IVinship 



game you have to make a home run before 
anybody notices you much. '"Anna Christie" 
was Bradley's home run. When Tom Ince — 
who is always just a little bit ahead of times 
in pictures anyway — bought "Anna Christie," 
a very eminent scenario writer said to me: "It's going to be the 
hardest job ever attempted — to make that play into a scenario, 
get it by the censors, keep its interest and its greatne--. I 1 
hate to tackle it." 

Others united in saying it simply couldn't be done. 

So when Bradley put it over she immediately loomed as one 
of the new writers who should be added to the honor roll which 
includes such great names as Frances Marion, Jeanie MacPher- 
son, Clara Beranger and June Mathis. 

Bradley owes her success, she says, to an india-rubber quality 
that is inherent in her nature. She won't be downed and shi is 
always there at the right moment. Her ambition was to be an 
actress — and she was a complete failure. So she got a job as i 
stenographer to a scenario writer. 

One day the scenario writer had a terrible row with the 
director. It was one of those real, hair-raising, temperamental 
differences which sometimes arise, and it ended when the 
scenario writer put his latest story in his inside pocket and 
departed from the lot. 

The director sat down and began to weep. Bradley said: 
"What's the matter?" 

The director gave her a harsh look. Be had forgotten her. 

" Plenty," said he. "Star and a cast and ready to shoot and 
now that fool has walked off with my story.'' 

"Try one of mine." said Mi-s King. When his unkind 
laughter had subsided he read her first original story — and 
went into production with it the next day. 

Ince saw her possibilities when he read one of her magazine 
stories and, under his direction, she has developed such suc- 
cesses as "Lying Lip-." "A Man of Action." and " Her Reputa- 
tion." And today she is regarded as one of the comers of the 
industry. 




Florence Turner, one uf Ike most versatile actresses 

that ever faced a camera. She could carry any role, 

and could imitate any actor. At right is her rendition 

of Ben Turpin 



I 



WANT so to work!" pleads Florence 
Turner. "It is all so tragic because my 
work has been my very life; I have lived 
for it and my mother, and it was taken 
from me before I am thirty years old!" 

Ten years ago Miss Turner was one of 
the three leading film favorites. Time and 
the motion picture have moved on. Today 
she is well-nigh forgotten, like many 
another idol of the pioneer celluloid days. 
What has become of Mary Fuller? Of 
Marion Leonard, Gene Gauntier, Lottie 
Briscoe, Dorothy Bernard and the many 
other luminaries of the pathfinding days 
of pictures? Offhand it would seem an 
easy thing to locate these idols of yester- 
day. That is, until you try it. 

The trail has stretched across America, 
to England and even to Sweden. Some 
of these old time favorites are longing to 
return to the screen. One was in actual 
want. Most of them are young enough 

to be at the very crest of their career. Florence Lawrence, for 
instance, is just thirty-one. Some of them are living in the very 
centers of motion pictures, Hollywood and New York, and yet 
the motion picture camera has passed them by. It steadily 
searches for new faces and new personalities, but the idols of the 
past are forgotten. 

A letter addressed to Miss Lawrence, living in the heart of 
Hollywood, was returned to me because the street address was 
incorrect. It came back marked "unclaimed." Less than ten 
years ago Miss Lawrence ranked beside Mary Pickford and 
Mary Fuller as one of the premiere favorites of the films. In 
those days a letter merely bearing her name would have been 
delivered. 

The camera has moved on, leaving its scars of disillusionment 

04 



Unwept, 
Unhonored 

and 

Unfilmed 



The results of a 

remarkable search for 

the Stars of 

Yesterday 

By 

Frederick James Smith 



and bitterness. Imagine, if you 
will, the Rodolph Valentino of 
today forgotten ten years from 
now. The fate of Miss Law- 
rence, Miss Fuller, Miss Gaun- 
tier and the others of the pioneer 
era is comparable to this. Seem- 
ingly impossible — and yet it 
happened. Nothing like it 
could occur in any other path of 
artistic endeavor. Certainly the 
stage does not toss its idols aside 
so heartlessly and so carelessly. 
Today these favorites re- 
turn to the paths they 
pioneered and find them- 
selves unknown. As Miss 
Lawrence says, it is like com- 
ing back to the old home, 
only to find all your 
friends and loved ones 
gone. The axiom that it 
is harder to come back 
than arrive has never 
been exemplified better 
than in the world of dra- 
matic shadows. 

Unwept, unhonored — • 
and un filmed. So these 
idols of yesteryear go on their lonely way, watching the coming 
of new favorites, and wondering. 

There is no more moving story than that of Florence Turner, 
that idol of the screen when it was in its infancy and its in- 
nocence. Miss Turner was the famous "Vitagraph Girl." 
When I first located her, she was living in London, England, at 
No. 3 Randolph Road, Maida Vale, W. 9. Stories had come out 
of Los Angeles that a fund was being launched for Miss Turner, 
who was reported to be destitute in England. Since Miss Turner's 
first correspondence with me seemed to indicate that the pathos 
of her condition was exaggerated, I wrote again. Then it was 
that Miss Turner confessed the distress of her situation. 

Luckily, at this moment, the heart of a star today, Marion 
Davies, was touched by the tragedy of Miss Turner's career. 




A RE we too forgetful of our 
./YJdols? That seems to be the 
vital lesson to be drawn from this 
remarkable article about the old 
time stars, telling for the first 
time exactly what has happened 
to them. 

Reading these poignant little 
stories, each something of a trag- 
edy in its way, one can realize the 
tears that lurk behind the screen. 
Public favor is a fickle thing. 

Incidentally, this article is an 
admirable instance of good re- 
porting. Mr. Smith spent three 
months on the task — but he 
found every one of the players of 
yesterday. Their stories, of dis- 
illusionment and heartache, are 
now yours. 

James R. quirk 



She brought Miss Turner and her mother to 
America, gave her a role in "Janice Meredith'' 
and offered her the permanent post of scenario 
reader for her productions. 

Says Miss Turner: 

"The war here ruined my company and my 
prospects, so, at the age of twenty-nine (in 1916, 
when I returned to America), I found the picture 
business so changed as to be almost completely 
out of it. After the war I returned to England, 
having been made a definite offer by a big firm 
here to star again. I arrived with my mother to 
find another woman, a stage star, in my place. I 
had nothing on paper and so I had no claim upon 
them. The firm has since gone out of business. 

"Trade conditions in England have been get- 
ting steadily worse for the last two years. Few 
companies are operating. In sixteen months I have done six- 
teen days' work! 

"I am called the 'veteran of the screen' and 'the very first 
old timer.' It has led people, both trade and public, to think I 
am years older than I am. They forget that in 1907. when I first 
went to Vitagraph, I was only twenty years old. Playing very 
old women then has also been responsible for the idea that I am 
aged. Also, the public's memory for time is very short. People, 
not having seen me for seventeen years on the films, rate it as 
twenty-five, quite forgetting dates and also that there were no 
pictures that long ago. 

"All this has helped very much to put me where I am today, 
a better actress than I ever was and a better photoplay subjeel . 
I looked older on the films in my first six years in them, when 
we were experimenting with lighting and cameras, than I do 
now, when the mechanics of the screen have been perfected." 

Miss Turner has deserved better by the fates. Her pioneer 
playing at old Vitagraph was one of the high lights of old time 
pictuie making. Miss Turner came of a theatrical family and 
made her stage debut at the age of three. She applied to the 
Vitagraph, then occupying a single small studio in Brooklyn, on 
May 17, 1907, and, as was the wont in those happy-go-luckv 
days, was engaged to play the lead in a 300-foot classic, "Ho.v 
to Cure a Cold." Many other pictures followed. 

At the age of twenty Miss Turner was playing everything in 
the studio, as she says, "except a babe in arms and a police- 
man." In October, 1907, Albert E. Smith engaged Miss 
Turner to be a permanent member of Vitagraph. " I was the first 
girl to be permanently engaged by any picture firm." she says. 

Miss Turner went on from picture to picture, her fame as the 
"Vitagraph Girl" sweeping across the land as the screen out- 
posts advanced. In the period following 1907. Miss Turner 
played the leads in "Francesca da Rimini," which she adapted 




Arth 
great 



in- Johnson and Lottie Briscoe flayed together for years m,ii were 
favorites in the old Lubin days. The former was the Watt* 
of his time 



for the screen, "Launcelot and Elaine." "Jealousy," a pl> 
play in which she played alone and unaided by a single sub- 
title, and "A Tale of Two Cities," claimed to be the lir-4 
American made two-rccler. This was produced in November, 
1910, and the cast included Maurice Costello, who had joined 
the company on March 31 . 1909, Charles Kent, as Dr. Mottette, 
and Leo Delaney, as Evremonde. Norma Talmadge did the 
tiny role of Mimi in this production. 

In May, 1910, Miss Turner's name appeared on the screen 
for the first time. The film was one in which Jam I I 
appeared, and its feature was a boxing match between Gentle- 
man Jim and Miss Turner. "I can still remember my gi 
interest and pleasure at seeing my name seemingly to jump out 
from the little screen in the projection room at Vitagraph when 
Mr. Blackton surprised me with it." she relates. Thus 
public came to know the identity of the "Vitagraph Girl." 

In January, 1913, Miss Turner left Vitagraph. Shi 
longed to launch her own company, the lir>t star to seek the 
road leading to greater glory — or disaster. Knowing it would 
be impossible to buck the licensed film organization of that 
time, she decided to go to England. Ill health had sometl 
to do with the decision, too, for Mi^s Turner felt that the 
change in climate would be helpful. 

Miss Turner first appeared in the English music halls. Then 
she opened her own film company, the Turner Films. Ltd 
Success came to Turner Films and the organization began to 
broaden. Henry Edwards was engaged as dire< tor and hiding 
man for Miss Turner, while Larry Trimble turned to directing 
such stars as John Hare and Henry Ainley. One of the m 
popular Turner films of this period v. is "A Welsh 

Then the war came and one by one the English studios were 
forced to close. Miss Turner's company struggled on, ' 
after a heavy financial loss, dosed its doors late in 1916. 




© Strauss-Peyton 



After long search, Gene Gauntier, once famous star of 
Kalem, was found in Sweden 



Miss Turner came back to America late 
in 1916. She played in several films for 
Universal and had a contract with Metro. 
Then came an offer to return to English 
films. So she went back to London — and 
her tragic seven years began. Among 
other productions, she did, during this 
time, the leads in a series of W. W. Jacobs' 
comedies and she made a two-reel novelty, 
called "Film Favorites," in which she bur- 
lesqued thirty players, including Charles 
Chaplin, Lillian Gish, Richard Barthelmess, 
Larry Semon and Mae Murray. Miss 
Turner played every character in the film. 

Now Miss Turner is back in America. 
"I want to go on," she says, "for I have 
loved every moment of my years of film 
work, from the grand old days, when I did 
everything at Vitagraph, from playing 
leads to being cashier, casting director, 
super-master and so on, to now. 
Can't I go on?" Now, with Miss 
Davies' aid, it is possible that Miss 
Turner will no longer have 
to eat her heart out in idle- 
ness. 

The story of my long 
search for Mary Fuller and 
my finding of the one time 
Edison star is so interesting 
that it is impossible to tell it 
in the limited space of this 
article. This will be told in 
Photoplay next month. 

" How can I get into 
motion pictures?" Lottie 
Briscoe asked me ingenu- 
ously. She left the screen 
eight years ago. The ter- 
mination of her screen 
career was tragic but, now 

that the passing years have tempered memories, she is longing 
again for the Cooper-Hewitts. The combination of Arthur 
Johnson and Lottie Briscoe at old Lubin was one of the 
happiest and most popular in the whole history of screendom. 

Miss Briscoe told me a poignant story of the way the screen 
passed her by, a story that has never been told before. Miss 
Briscoe had played briefly with Essanay, opposite Francis X. 
Bushman, and with the old Imp company, before she was en- 
gaged by Sigmund Lubin to play with Arthur Johnson, who 
was probably one of the best actors ever evolved by the films. 
Miss Briscoe played 
opposite Mr. Johnson 
for four and a half 
years. Johnson, a 
happy-go-lucky chap 
with a sort of Wallie 
Reid personality, was 
very likeable, her as- 
sociations at the Lubin 
studio were pleasant, 
and the future seemed 
roseate indeed. 

Then Johnson's 
health began to break, 
although no one sus- 
pected that his collapse 
would be so rapid or so 
complete. Finally, he 
was forced to take to 
his bed. Miss Briscoe 
had been suffering from 
chronic appendicitis 
and she seized upon the 
interlude in production 
to undergo an opera- 
tion. She bade good- 
bye to Johnson and 
came to a hospital in 
New York. 

Miss Briscoe under- 
went the operation at 

ee 




Cleo Madison came bud; u> the screen for the mother role in "The 

Dangerous Age." Here she is shown with Lewis Stone in a scene 

from that play 



12:30 o'clock noon on January 
17, 1916. Johnson died in At- 
lantic City at exactly the same 
moment of the same day. 
Naturally, Miss Briscoe was 
not told of his death until 
weeks later. 

Miss Briscoe was in ill health 
for a long time after, in fact she 
did not fully recover for five 
years. However, she returned 
to the Lubin studio and was 
offered a role. She declined, 
being still too unstrung by 
Johnson's tragic death and her 
own illness. Thus came about 
her retirement from the screen. 
When not on tour in vaude- 
ville, Miss Briscoe lives at the 
Hotel Princeton, in West 45th 
Street, New York. She has 
been doing a child impersona- 
tion in this variety playlet, so 
you can guess as to her youth- 
ful appearance. She should be 
at the zenith of her film career 
today. Instead, she is for- 
gotten. 

Miss Briscoe frankly admits 
she has tried to return to 
motion pictures, but without 
success. "I don't know how 
to go about it," she says. 
"Things have changed so. 
Only the other day a friend of 
mine received a call from a 
studio. She is an experienced 
actress and had played con- 
siderably in pictures in the 
past. They made her go 
through a long emotional try- 
out before they decided she wasn't the type. I'd never be able 
to do that." An odd comment from an actress who had played 
hundreds of screen roles! 

Miss Briscoe tells some interesting stories of Arthur Johnson, 
whose father was a minister and whose brother is still a pastor 
in Brooklyn. Johnson had had considerable stage experience 
and had worked in pictures with David Wark Griffith. "Arthur 
Johnson could never understand his picture success," relates 
Miss Briscoe. " We would watch a finished picture in the Lubin 
projection room, and, after everyone had expressed themselves 

more or less enthusias- 
tically about it, we 
*- would walk across the 
studio yard back to 
work. 

"Johnson would al- 
ways shake his head 
and murmur: 

" 'They'll get wise to 
us yet.' 

"When an offer came 
from an independent 
company of a thousand 
dollars a week, he 
roared and tossed the 
let ter aside indignantly. 
'They're mad,' he ex- 
claimed." 

Johnson reached the 
top salary of $400 a 
week, just at the time 
of his death. 

My search for Dor- 
othy Bernard led me to 
the editorial offices of 
Hearst's International 
Magazine, where Miss 
Bernard, in real life the 
wife of A. H. Van 
Buren, the actor, is as- 
sistant art editor. 





Flan /in Lawrence's career was abruptly checked by a 

distressing accident, which removed her from the screen 

at the <ige of twenty-three 



II ili a Holme* was widely known I"/ her thrilling 
"Tin Hazards of Helen." Thei 

episodes. Shi is still in pictures. 



Miss Bernard was one of the very first stars of the old Bio- 
graph company under the Griffith regime, dividing honors with 
Mary Pickford and Blanche Sweet. She appeared in the lead- 
ing roles of some twenty now historic Biograph productions, 
including Griffith's unforgettable two-reel veision of Brown- 
ing's " Blot on the 'Scutcheon." 

Miss Bernard was born in Port Elizabeth, South Africa, and 
her parents were theater folk. She played behind the footlights 
as a child and, after her parents brought her to America at the 
age of seven, went to school in Portland, Oregon, and Los 
Angeles, California. David Wark Griffith, then known as 
Lawrence Griffith, had been a member of her father's stock 
company in Portland, so it was natural that she should seek a 
movie opportunity with him at the old Biograph studio at 1 1 
East 14th Street. Indeed, while Miss Bernard was a student in 
Portland the soon-to-be-famous Griffith had been a ''kid 
crush." She still has schoolbooks with many an "L. G." in- 
scribed upon their pages. 

Miss Bernard was a Biographer for two years, beginning in 
1910, the organization at that time numbering Man- Pickford, 
Blanche Sweet, Mabel Normand, 
Mary Alden, Priscilla Dean, then 
playing bits, Claire McDowell, 
Arthur Johnson, Owen Moore, 
Henry Walthall, James Kirkwood, 
Wilfred Lucas, Charles West and 
Charles Mailes. 

"I'm afraid none of us, except 
Mary, took motion pictures seri- 
ously," Miss Bernard told me. 
"Mary used to say, 'You must 
work harder if you want to suc- 
ceed.' I can remember how ap- 
palled Mary was when I spent a 
whole week's salary, $125, on a 
large white hat with a black Bird 
of Paradise. Even Blanche Sweet 
thought it was the wildest ex- 
travagance. 

"Loneliness for my husband 
finally caused me to leave the Bio- 
graph company, then located in 
California, so I packed my baby 



Photoplay Brings Mary Fuller 
Out of Retirement 

For years Mary Fuller has been lost to 
the screen and the public eye. Her where- 
abouts have been a complete mystery. Only 
her attorney and banker knew her where- 
abouts and they would not tell. Mr. Smith, 
author of this article, was assigned to find 
her, and the storv of his accomplishment 
reads like a tale of adventure. His complete 
story with new pictures will appear in 

The August Issue of Photoplay 



and my belongings and came East." Later Miss Bernard was 
a member of the Fox company for two years and five of the 
intervening years were given over to the stage. She made just 
one screen appearance since, a role in Cosmopolitan's "The 
Wild Goose," produced in 1922. 

"I left the screen," explains Miss Bernard frankly, "because 
the films demand extreme youth and I had none of that pre- 
cious commodity left. There is no room in lilmdom for a woman 
over twenty-five, unless you have a rare streak of genius and 
even then it's a fight. But, with my husband busy all the time 
and my 'baby' going to high school, I had to find something to 
keep my mind active. So I turned to a magazine position. 
You've often read the line ' From Stenographer to Star.' I 
reversed the process, almost. Hut, at least. I hope to be ab 
tell my children's children that I was once a Griffith star and 
that I had my picture on the cover of PHOTOPLAY." 

My search for Gene Gauntier, the famous early star of the 
old Kalem Company, led to Kansas City, Mo., and then 
across the Atlantic to Stockholm. Sweden, where the actress 
can be addressed at Laboratoriegatan 10. 

My letters followed Miss Gaun- 
tier to Piestany, the watering 
place of Chccko-Slovakia. where 
she was visiting with her mother 
and father. 

" I left pictures during the war," 
Mi>s Gauntier writes me. "There 
were several reasons. I was worn 
out and had lost enthusiasm, with- 
out which we cannot, of course, 
progn >^. My work in pictures 
bad been too difficult, my strength 
was sapped and it had become 
drudgery, especially the new way 
in which they "ere produced. In 
addition to playing the principal 
part>. I also wrote, with the ex- 
ception of a bare half-dozen, every 
one of the five hundred or so 
pictures in which I appeared. I 
picked locations, supervised 
passed on tests, co-directed with 

[CONTINIXD ON PAGF IOI ] 




He bewilders those who meet him for the first time. 

for his ring record 



He seems too quiet, too gentle 



THEY said to me—" Meet the Champ." 
And I forthwith found myself shaking hands with the 
newest screen star, a young gentleman who is getting one 
million dollars in real cash money, payable in advance, 
for making ten two-reel motion pictures. 

And as I stood there, looking at this large, homely, serious, 
business-like young man, who is heavy-weight champion of the 
world, I found myself, for the first time in a long and varied 
career of interviewing, speechless. (I do not expect anyone in 
Hollywood to believe this.) 

He was the last of a long series of things that weren't the way 
I had expected them to be, that's all. 

In the first place, when I heard that Carl Laemmle, who is 
second to none in the appreciation of how much a nickel ought 
to buy, had agreed to pay one Jack Dempsey one million dol- 
lars to act for him, it threw me into a state of coma from which 
my family had difficulty in arousing me. 

I considered it seriously, and then decided that it was im- 
possible to ignore a star with a salary like that. So I started for 
Universal City, which is a place I avoid as a rule, prepared to 
see how this person stacked up as a screen star alongside of 
Valentino, Ben Turpin and Strongheart. I rigged myself up in 
my best sport clothes — I wanted to be in the picture and I 
could not foresee that Dempsey would be wearing the niftiest 
thing in dinner coats — and stepped on the gas. On the Cahuen- 
ga grade an enormous gravel truck slid around the curve and 
ate a piece out of my best fender and disappeared before I could 

. 68 



Meet the 

Champ 



A woman's impression 

of Jack Dempsey 

who is now getting 

a million for facing 

the camera 

By 

Adela Rogers St Johns 



say anything, which left me in a seething, 
not to say dangerous, condition. 

To top the works, at the door of Mr. 
Dempsey's set I was met by a large, uni- 
formed policeman. Somewhere in me 
there must be a submerged criminal in- 
stinct, because the sight of a policeman al- 
ways makes me jump. No matter how 
law-abiding I may be at the moment, I 
feel guilty. 

"Hello, hello, hello," I said, in what I 
considered an easy, off-hand manner, and 
which aroused his suspicions at once. 

"What do you want?" he said more 
pointed than polite. 

"I've got an appointment with Jack 
Dempsey," I said modestly. I have never 
heard anything sound less truthful. I 
hardly believed it myself. 

"Yeh?" said the cop, skeptically, "you and all the other 
women within ten miles of this joint. Now listen, little girl, 
you run along home to your mama, and don't be hanging 
around these prize-fighters." 

I stood quivering between a desire to kiss him for calling me 
little girl and to slap him for insinuating that I'd hang around 
after anything male. 

"But I really — " I began. 

He shook his head wearily. " You want to know how many 
women have been here this morning trying to get in to see the 
Champ? Eighty-two, that's all. And some of them were 
lulus. Some of 'em climbed up over that mountain, too, to 
get here." 

"But I — " I tried again. 

"Now, girlie," he said, magnanimously, "I can't do it. Be- 
sides, it'll only get you in trouble. Take my word for it. I've 
seen a lot of the world." 

"But — " I strangled between rage and laughter. 
Just then the door opened. It saved either that cop's life, or 
mine. A very dapper little man, of sporting persuasion, 
appeared. 

"R'you Mrs. St. Johns?" he asked. 

I admitted that I was. At least I had been when I started 
out. I was fast becoming a raging maniac. 

"Champ'll see you," he said. I gave the cop a look of 
triumph. He only shook his head. 



Plainly, m> downfall moved him deeply. 
Inside, on the set, I was instantly en- 
gulfed. Jack Boyle, who writes great crook 
stories and owns a bear, dashed up. He 
told me that Dempsey was one of the great- 
est fighting men that had ever lived. He 
iterated and re-iterated that news. Before 
I could catch my breath, young Douglas 
Fairbanks sailed at me from the other side 
and began an enthusiastic description of the 
Champ's physique. The dapper young per- 
son led me trembling by half a dozen 
sweatered men. "Don't be scared," he 
said kindly; "he's just a big boy." 

An instant later he added, "Meet the 
Champ." 

He didn't seem particularly glad to see 
me. After all, never having heard of me 
before in all his life, there was no special 
reason why he should begin cheering when 
I hove on the set. He didn't. He was 
polite — scrupulously polite — in fact, I think 
he is the politest man I've ever met — but 
there was a nice sincerity about the way he 
conveyed to me that I was all part of the 
day's work and the sooner I started my 
business and was on my way, the more we'd 
all be able to accomplish in twenty-four 
hours. 

Actors are not like that. In fact, the 
only thing about Jack Dempsey that was 
like an actor was the grease-paint none too 
smoothly ornamenting his un-beautiful 
countenance. 

I have too much imagination. That's 
the trouble. I hadn't been thinking about 
this man, at all. I'd been thinking about 
the things he stood for. 
I was going to see the 
man who could lick any 
other man in the world 
in a hand to hand battle. 
I was going to see a half- 
starved, ignorant, low- 
browed tramp who, with 
unheard-of grit, had 
fought his way to a place 
where one of the shrewd- 
est producers in 
the game paid him 
a million dollars 
for his presence as 
a screen star. I 
was going to see an 
ugly man — to see 
whom eighty-two 
women would bat- 
tle a policeman, 
and in my heart I wondered 
joyously if Valentino might 
have a real rival with at least 
half his feminine followers. 

The Champ. 

Therefore, I was prepared 
for almost anything — any- 
thing, that is, except this soft- 
voiced, light-stepping, gentle, 
almost negative young chap 
who bowed with some grace 
and dignity and said quietly, 
"Get the lady a chair." 

I do not know what this 
man, who is a potential great 
drawing card in pictures, will 
be like on the screen. Per- 
il pose revealing the perfect 

combination of physique, 

skill mill alertness that 

brought Dempsi y On 

championship of 
the world 






Jack Dempsey, with George Ovey, in a scene from the first - 
picture of a scries he is making for Cm 



sonally, he is as nice, and pleasant, and unpretentious a chap 
as you'd meet in a month's walk. There is nothing of the pirate- 
about him, nothing of the picturesque, nothing of the showman. 
He is amazingly, completely natural, and yet once or twi< I 
longed to say to him. " lie yourself. I won't get son." 

If he is negative, it is undoubtedly because his managers have 
kicked out of him the rough and ready personality that was his 
before he became champion. lie has wiped out the old pork 
and beaner, who never saw a dress suit except on a waiter, lie 
has toned down the primitive man of brutal force and virile 
individuality. They've taught him manners and grammar. 
And as yet he has nothing with which to replace that old self. 
The only thing he has retained that is vital — outside the ring 
is a darn sweet disposition. Everyone around him, e v er y one 
who knows him and works with him. Likes him. 

And being a champion is a tough job. It require- 
the diplomatic skill of an ambassador, the good fellow - 
ship of a ward politician, and the tact of a matinee 
^ idol's wife, if a man is to be popular. 

Another thing, he looks amazingly small, in 
his clothe-, lie doesn't give you the impression 
when you meet him of being a bit; man. True. 
he is a very light man to be heavyweight cham- 
pion. He fights at around 190. and he is just 
over six feet. Willard outweighed him about 
forty pounds, when they fought at Toledo. 
More than that. In- i- so perfectly proportioned, 
so smooth-muscled, so roundly [ continued on page 88] 

6:> 




\V. W. Hodkinson, a telegraph operator, got into the jilm 

exchange business, and brought to New York ideas that 

created the powerful Paramount Pictures Corporation 



Who is Reading This Story? 

GIRLS and boys in their teens, families around the library 
table, grimly concentrated business men taking respite in the 
lulls of the office, professors and scientists studying the screen 
as the most amazing institution of the age, publishers seeking to 
attune their pages to the eye-minded public, the players of the 
screen themselves, and — romantically indeed, men and women in 
far places, castaways, drifters and adventurers of one time motion 
picture fame. All these are numbered in the audience of "The 
Romantic History of the Motion Picture." 

It would be a conceit to lay claim to credit for all this for Photo- 
i'I.ay Magazine or for the author. It is an homage to the great art 
and industry of the screen itself. The history in the measure of its 
service partakes of its subject. 

"Monumental" is the word that Thomas Edison has used in a 
letter about "The Romantic History." 

" You are the only one who knows what is the true history of the 
cinematograph," reads a letter from Eugene Lauste, the French 
mechanic who built the Latham picture machine, now forgotten 
these twenty years. 

"lam one of the Gaiety Girls of 1 896," writes a woman from the 
South, filled with reminiscence, "and I danced for the Edison 
pictures you have written about." 

From a remote, sun-cursed jungle town of the Malay Archipelago, 
a camera man who has for ten years been a fugitive for a breach of 
trust, writes to say, "I'll never be back, and your story is the 
nearest thing to a letter from home that I have ever had. I forget 
to smell the stinking copra when I read it." 

In this is our reward. 

The chapter here presented reveals the rising intensity of the 
super-drama of motion picture development in terms of the personal 
ambitions, strivings, triumphs and failures of the people who make 
the motion picture. Here are glimpses of the telegraph operator 
who became a screen dictator, an actor who became a great director 
and died without seeing his first masterpiece, and the story of the 
world's greatest picture. James R. Quirk, Editor. 

1 'oi'vrii' |,( , 

70 



™e Romantic 
History of ^ 
Motion 
Picture 

By Terry Ramsay e 



Chapter XXVIII 



AND still we linger a while in the days of 1913, while yet 
the motion picture was feeling its way and trying to 
find its own proper place in the world of expression. 
One memorable title, significant of many aspects of 
motion picture evolution, survives in memory conspicuously 
among the scores of experimental efforts of the period. It is the 
lurid "Traffic in Souls." 

The history of that romantically remarkable project illu- 
minates that age of the motion picture art with special clarity. 

This was the day, now a decade past, when the social move- 
ment that has given the present era its startling sex frankness, 
was just evolving from laboratory considerations of the prac- 
tical sociologists of pulpit, politics, press and stage, into a 
recognized universal interest. The motion picture, then in the 
beginnings of the future era, had just attained the scope to 
share in the movement. 

It all began, it seems, back in the nineties when Dr. Parkhurst 
went into the Tenderloin of New York and came forth with the 
revelations of the vice world which resulted presently in the 
famous Lexow investigation, and for twenty years a long sequel 
of similar revealing movements in many centers, notably in 
Chicago and New York, with activities rising from the aggres- 
sive interest of Hull House settlement, resulting also in the 
sensational but somewhat suppressed inquiries of the Chicago 
Vice Commission and the Committee of Fifteen. A running 
sequence of spectacular events, typified by the scarlet melo- 
drama of an inter-departmental police battle fought with guns 
in the open streets of the underworld of Chicago, gave the move- 
ment enough visible physical drama of action to maintain and 
fan the public interest. 

It became rather apparent to the usually unconscious public 
that there was a national and international traffic in "white 
slaves," well organized and capably managed. In time this ran 
the customary gamut of expression, starting with newspaper 
headlines, and thence successively into Sunday supplements, 
periodical fiction, novels, and latterly plays of the stage. Here 
are some reminiscent titles: "The House of Bondage," "The 
Lure," "Damaged Goods." 

The actor-directors of motion pictures of the time were but 
newly from the stage and the drama of the stage still occupied 
their most serious attention. The larger destiny of the motion 
picture was still uncertain. 

Among these actor-directors was the late George Loane 
Tucker, now famous as the maker of "The Miracle Man," the 
picture which made Betty Compson, Thomas Meighan and Lon 
Chancy stars. But in 1913 Tucker was merely one of the 
several young men engaged in grinding out one-reel program 
pictures for the "Imp" release on the Universal program. 

Tucker saw everything on Broadway, including "The Lure" 
and "The Battle," both of which were so highly colored that 
they brought police intervention. 



1924, hy Terry Ra 





George Loane 
Tucker, whose 
" Traffic in 
Souls" (19 13) 
had a tremendous 
effect on picture 
development 



Tucker came away from the theater afire with inspiration. 
He would make a great revealing motion picture, a police 
picture dealing with the white slave traffic. At the studio- 
laboratory he bubbled his idea to Jack Cohn, the film cutter and 
editor of Imp releases. 

It was a part of the scheming economy of the Imp admin- 
istration to try to induce its directors to photograph what they 
thought were one-reel pictures and then to pad them into two- 
reel releases in the cutting room. If the directors had realized 
fully that they were engaged on such pretentious projects as 
two-reel pictures their prices and the cost of production would 
have gone up. A great deal of the practical diplomacy of this 
technique fell upon Cohn. In execution of the policy he became 
interested in talking picture story ideas to the directors to decoy 
them into exposing enough film footage to permit the applica- 
tion of the amplification process in the cutting room. This had 
made him a literary confidant of Tucker. 

Now fate had laid exactly the proper background for Tucker's 



Griffith directing a scene in "The Birth of a Nation," Uu greatest 
e ever made. After nine years it stitl draws enormous audit net .-; 



white slave picture idea. Jack Cohn's father had been a police 
outfitter, with an establishment not far from the old Tenderloin 
station. In his pre-picture days Master Jackie Cohn was a 
raid fan who answered all of the exciting calls for the reserves 
along with the officers. Jack knew the subject. He of course 
caught fire with Tucker's enthusiasm. Walter McNamara 
was enlisted in the elaboration of the idea and soon the whole 
studio force was involved in the excitement. 

With the assurance born of this interest. Tucker went to Carl 
Laemmle, the president of Universal, to get authority to put 
the picture into production. Laemmle and the chieftains of the 
motion picture industry in general in that day were concerned 
with concentration on the business of controlling the industry 
of the motion picture and not at all interested in the pictures 
themselves. The film was a mere incidental, but necessary, 
instrument of the pursuit of money and power. The great war 
between Laemmle and Pat Powers over the control of Univer- 
sal was still raging. 

The great slogan of the moment was. "Let who will make the 
picture, but let me make the money." 

Tucker with his white slave picture project got put out. 
Laemmle was of short patience with silly young men who 
wanted to bother him with such details — especially since 
Tucker admitted that he wanted to spend $5,000 on his picture. 
That was enough money to make a dozen Imp program pictures. 

George Loane Tucker found himself and his little white slave 
idea talking to themselves in the hall at 1600 Broadway and the 
door shut behind them. 

Tucker went back to the studio to report defeat. A con- 
spiracy was born. Five of the enthusiasts plotted to make the 
picture even without the approval of the big boss, and then, if 
in lasl resort he could not lie won by a screen demonstration, to 
pay the costs themselves. The five conspirators agreed to stand 
good for a thousand dollars each. [ continlld on page tati 1 

71 




WHY 



Jane Cowl avoids the Screen 

"The screen is silent, colorless, with two dimensions. 
Depth, which the screen lacks, is most important. No 
actress ever appears on the screen. Only their shadows 
show. Screen players lose the thrill of contact with 
their public, the stimulus which stirs actors to greatest 
effort." 

Norma Talmadge avoids the Stage 

"A stage play can achieve success from the tricks or 
mannerisms of one actress, but mannerisms are fatal to 
a screen star. The stage actor is known to the few who 
can afford to see him, but the film actor is known to the 
wofld. Why are players fond of the speaking stage? 
Vanity is the answer." 

Laurette Taylor appears on both 

"Films appeal to me because they are permanent. 
What would the world give today to see Duse in her 
youth or Bernhardt at her zenith? The voice is the 
glorious thing that the stage retains, making the screen 
appeal mute and indirect. The art of acting might be 
made complete by an actress at her best in both." 



Victor Gcorg 



Laurette Taylor was asked whether she preferred the 
stage or the screen and, being Irish, answered," Both" 



By Gardiner Carroll 



JANE COWL started this! A motion picture magnate 
offered to let her write her own contract for a film engage- 
ment. She refused point-blank. 
Norma Talmadge speeded up the discussion. Norma 
retorted that the screen was so far superior to the stage that 
nothing could tempt her to forsake the kliegs for the calcium. 

Laurette Taylor ended the discussion. When asked which 
she liked better and thought the higher art — the screen or 
stage — Laurette laughed and gave the Irish answer: "Both!" 

"After all," said Miss Cowl thoughtfully, "no actress ever 
appears on the screen. Players who pursue art through the 
films never catch up with it. The screen shows only their 
shadows, while the stage retains their substance. 

"The screen is to the stage what the stage is to life. If the 
stage is a reflection of life, the screen is merely the photograph 
of that reflection. The screen is silent, colorless, with two 
dimensions, length and breadth. Depth, which the screen 
lacks, is perhaps the most important dimension of all. 

"This incompleteness pervades the whole film field. The 
human voice is half of acting and the photoplay silences it. 

"Screen actors lose the thrill of contact with their public, 
and with it lose the stimulus which an audience gives and which 
stirs stage actors to greatest effort. 

"Then too, a finished photoplay is permanently fixed. Every 
presentation is an exact duplicate of every other. A motion 
picture cannot be developed to its highest artistry under the 
strong light of public opinion, as stage drama is developed to 
perfection. 

" Film acting is less laborious, but there are fewer triumphs. 
Screen technique is largely expressive emotionalism, and easy 
for an actress of experience to acquire. Do screen actresses 
succeed as readily on the stage? No. 

"Four-fifths of a motion picture is contributed by the direc- 
tor. Screen stars have been developed frequently from nothing 
by directors, a condition almost impossible on the stage. I am 

79 



not prejudiced," concluded Jane Cowl, "and I do not speak 
without screen experience. I played in ' The Spreading Dawn ' 
in film form, and I am glad that the picture as released was 
unsuccessful, for it suffered all the defects we have been dis- 
cussing and I would not have my ability as an actress judged 
by it. 

"Yet I would like to make another picture in the way 
I think a picture should be made, if only for my personal 
satisfaction." 

Norma Talmadge did not know what Jane had said, when 
she was invited to participate in the discussion. Norma will 
not know what Jane said until this issue of Photoplay is 
mailed to subscribers. She was asked merely to state what 
she thought of Miss Cowl's rejection of the screen contract and 
why. Here is what Norma responded: 

"Nearly every stage actress who fails in motion pictures re- 
gards the screen with lofty disdain, and disdain is often envy 
in masquerade. 

" My life is wrapped in studio work. I enjoy it. The stage 
does not appeal to me. Never have I thought of trying the 
stage. I am a film actress and prefer to remain so. 

" But why are theatrical players so fond of the spoken stage? 
Vanity is the answer, usually — the desire to sway crowds across 
the footlights. 

"The stage actor is known in the few places that can afford 
to pay to see him. The film actor is known to the whole world. 
If he gives a fine performance, the high and the low of all . 
countries thrill to it. The question resolves itself into a pref- 
erence between widespread fame on the screen or the gratifica- 
tion of vanity on the stage. 

"Staging a theater production is simple in comparison to 
screen staging. In the theater, much of the smoothing down 
is done after production, but a film must be polished to per- 
fection before release, which means that far more care and 
artistry must be exercised in films. 






Nickolus Muni.v 



Jane Cowl ■prefers the stage because of what she terms 
the incompleteness of the motion picture field 



Norma Talmadge believes that screen methods are 
nearer those of the painter or symphonic composer 



"A stage play can achieve success from the mannerisms or 
tricks of one actress, but mannerisms are fatal to a film star. 
Films require that direction, acting, story, photography, set- 
ting, and even cutting must co-ordinate. The director is the 
master, but all parts of the production are in the trust of 
skilled artists. 

" Finally, there is little diversity on the stage. Actors repeat 
the same things endlessly. But to compare screen and stage 
is unfair. 

" Screen methods are nearer those of the painter or symphonic 
composer. 

"Making photoplays is a colossal game. It is life. I give 
to it my best. 

" Why, then, should I change for the stage?" 

Then came Laurette Taylor, of the blue eyes and the silken 
sunny hair — whose Peg o' My Heart on the screen has been 
acclaimed as rarely beautiful as her Peg o' My Heart on the 
stage, and she said: 

"I believe a thorough actress should be effective on screen 
or stage. If the screen is incomplete, the stage is not yet per- 
fect, but the art of acting might be made complete by the 
actress at her best in spoken and silent drama too. 

"While I have had far more experience on the stage, I can- 
not agree that the stage requires greater physical effort. The 
waits and the rests necessitated in screen work convince me 
that patience is indeed a virtue. 

"The films appeal to me because they are permanent. 
What would the world give today to see Duse in her youth 
or Bernhardt at the height of her power on the screen? The 
picture I made of Peg will be treasured as long as I live, and 
by my children's children long after I'm gone, I hope. 

"That's vanity, but I'm human, and I believe that the same 
feeling may inspire the preference of many actresses for the 
screen. 

"On the stage, we can see our audience, it's true, but never 



ourselves. On the screen, we can see ourselves and be part of 
our own audiences as well. 

"An important advantage that the screen possesses is the 
ability of the camera to reveal one's soul. The lens strikes 
below the surface and reveals nuances of emotion that cannot 
be shown on the stage. 

"Those who scoff that motion pictures lack depth should 
beware the camera or they'll find their souls exposed when t hey 
may least desire it! 

"The variety of the screen appeals strongly to me, and the 
thrill of seeing the rushes is something like that of a first night — 
but I am sustaining the screen when I'm a stage actress! 
Doesn't it sound like heresy? 

"Oh yes, of course I'm doing more pictures, but I'll never 
really desert the stage. I do think that a stage star can 'put 
across' a play while a screen star rarely can. The director 
must assume the great responsibility there, and he should to 
obtain the harmony of effort and effect necessary on the screen, 
and often nearly impossible on the stage. 

"The ideal condition would be for a stage player to be able 
to appear at one time in many places. That is impossible, 
but we may go forth in films or travel with the stage or utilize 
the two forms of art. 

"The voice is the glorious thing that the stage retains, of 
course, making the appeal of the screen indirect and mute. 
Yet there is an attraction in the films that is irresistible to me 
when I am on the stage toward the end of a run — just as. when 
I am near the finish of a film, the call of the stage commands 
me. 

"Is it the conflict between the personal pull of the stage and 
the permanent promise of the screen? 

"Some one else will have to answer that question. 

"How can 1 choose between them when my nature won't let 
me — my choice is: 

"BOTH!" 

73 




Our Foremost Woman Director 

TO be a playwright, a scenario writer and the owner of Strongheart would seem to be enough fame for 
one woman. But Jane Murfin is making a bid for even more by becoming a producer and directing 
her own pictures. She has Justin McCloskey as co-director, but she is in charge. This picture was taken 
while she was giving directions to the electrician as to the placing of an arc for better illumination. 



74 




Etiquette 6? Fashions 



of the 



Film World 



WHEN at a cabaret, a gentle- 
man should always sit side- 
ways at the table with his 
legs crossed, and after each 
number he should stand in his chair and 
applaud. 

Because of the tendency of male eve- 
ning coats to crumple and wrinkle when 
sat upon, it has become quite the fashion 
for gentlemen to take one tail in each 
hand, and to draw them forward simul- 
taneously about the waist when they're about to be seated. 

When addressing butlers or other menials you should be 
most careful to avoid any suggestion of equality or familiarity, 
lest you appear to be in sympathy with the lower classes. When 
giving an order always raise the eyebrows haughtily and speak 
over your shoulder. 

At all social teas — however intimate or informal — the hostess, 
under no circumstances, should personally serve her guests. 
Instead, there should always be three or more butlers officiat- 
ing, adorned with bushy sideburns and attired in the full-dress 
uniform of French generals during the reign of Louis XVI. 

Caps are very much the thing for smart young men and for 
bachelors who lead a gay life. They should be made of heavy, 
thick, fuzzy material resembling lamb's-down, and should be 
light-colored and preferably checkered. Also, they should be 
cut so that the crown will hang down over the ears and give the 
effect of a Tam o'Shanter or mushroom. The visor should 
extend outward like the eaves of a Japanese pagoda. 

Any doctor who wishes to build up a clientele among the 
Four Hundred should, when paying a professional visit, wear 
a frock coat, gray spats and a high silk hat; and, no matter what 
the malady, he should lift 
the patient's eyelid and, 
after gazing solemnly under- 
neath, stroke his chin medi- 
tatively. 

When a young, single lady 
enters a drawing-room, she 
should trip in gaily and sit 
down on the arm of a chair 
or on the edge of a table. It 
is also most de rigueur to sit 
with one leg curled under- 
neath the person and to 
swing the other leg back 
and forth. 

The latest fashion, which 
has found great favor with 
gentlemen who desire repu- 
tations as stylish an'' snappy 






dressers, is the wearing of low turn- 
over collars with Tuxedo, or dinner, 
jackets. These new collars have 
long points which extend, with a slight 
outward roll, well down on the shirt 
bosom. But the real innovation of this 
neckwear is the tie which accompanies 
it. This latest modish cravat is a very 
narrow bow — a mere bit of black tape — 
whose ends are tucked under the collar 
and completely hidden except for the 
knot. 



When tendered a glass of spirituous liquor by your host, take 
a tentative sip, then hold the glass away and inspect it admir- 
ingly, at the same time winking the eye broadly, smacking the 
lips, and massaging the stomach with a free hand. Then toss 
off the remainder at one gulp. 

Any bachelor desiring to maintain his social eminence should 
have a Japanese valet who never stops rubbing his hands 
together and grinning broadly. 

In the residence of anybody who makes the slightest pretense 
of really being anybody at all, the telephone instrument should 
be hidden. Only in tenement houses and the homes of the 
most indigent is the telephone uncovered. If you can afford it, 
you should have a special cupboard hollowed out in the draw- 
ing-room wall, with two small inlaid paneled doors which swing 
outward by touching a hidden spring. Still, you may hold your 
head up among your fellows if you only have the 'phone 
enclosed beneath the silken skirt of a large doll attired and 
coiffured like a court favorite in the days of Louis Quatorze. 
But, whatever else you expose in your home, remember that 
under no circumstances must the telephone be visible. 

It is taboo in the best circles for a lady to offer her hand, at 
a formal affair, to anyone who is presented to her. She should 

acknowledge the introduc- 
tion merely by the mere 
suspicion of a mirthless smile 
and the suppressed mum- 
bling of a few unintelligible 
words. If the other person 
is boor enough to hold out 
his hand, she should ignore 
it, and leave it hanging in 
space. 

All foreign diplomats. 
w h e n v i s i t i n g A m e r i c a , 
should wear long cape coats 
turned back over one shoul- 
der, and should stretch a 
broad ribbon diagonally 
across the bosom of their 
evening shirt. 

[ CONTINUED ON PAGE 135 ] 




In Mrs. Wallace Rcid's produc- 
tion, "Human Wreckage" 







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4s 



Bibbs, in his latest picture, 
" Hie Turmoil'' 



Very serious, a little wistful, but 
a fine actor-— George Hackathorne 



In the Palmer Photoplay's "Judg- 
ment of the Storm" 



A Real "Merton of the Movies" 

With a railroad ticket and an ambition to play with Mary 
Pic\ford, George Hac\athorne bro\e into pictures as a 
%ya-day extra and became one of the screens best actors 



GEORGE HACKATHORNE was 
born in Pendleton, Oregon, made 
his stage debut as Little Willie in 
" East Lynne," became obsessed by 
the idea that he wanted to play in pictures with Mary Pickford, 
and worked as a three-dollar-a-day extra for years before he 
finally achieved his ambition. He's a real Mertou of She Movies. 
That is a thumbnail sketch of George, who is today one of the 
most successful actors on the screen, and one of the best — they 
aren't necessarily synonymous. He is personally responsible 
for the statement that he was a real Merton, but you never 
would believe it to meet him today. He talks like a New 
Yorker, dresses like an Englishman, and leaves you feeling as if 
you'd just had tea with a character from a William J. Locke 
novel. 

Pendleton, Oregon, is the last stronghold of the Old West. 
It is largely inhabited by citizens any one of whom might be 
mistaken for Bill Hart, Tom Mix, or Hoot Gibson on sight. 
And the Pendleton Round-Up, with real westerners, is the very 
last echo of the great days when the cowboy was the most 

76 



By Mary JVinsbip 



romantic and thrilling character left in 
America. 

If ever I met a gent that didn't look like 
he came from Pendleton, it's George Hack- 
athorne, with his slim, youthful figure, and his wistful, appeal- 
ing face, and his deep idealism. Yet there's a tough fibre of 
perseverance and dogged determination in him, a mental daring 
and ruthlesssness, that carry the story of his western forebears. 

Because, while today George Hackathorne is sought by 
producers everywhere, while his work in "Human Wreckage" 
and in "Merry-Go-Round" have placed him beyond question 
as the finest character juvenile in pictures, and directors know 
there's only one man who can play certain parts, things were 
not always thus. 

Far, far from it. 

There was a time when young George Hackathorne, down 
to his last clean collar and his last very thin dime, was pretty 
busy trying to convince anybody that he was a good member of 
a very large mob. 

"I expect," he said, looking at [ continued ox page in ] 



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When you wrilo to ndrertisers please mention PHOTOPLAY M \C. \ZINE. 



Pictures That Talk 



Dr. Lee De Forest, who has made 
tali '■;.■ ■■'/ p&'iiires a reality 




Dr. Lee De Forest has 
at last succeeded in 
synchronizing the 
action with sound 



AX I) now the motion pictures 
really talk. It has been al- 
most twenty years since 
Thomas A. Edison first tried 
to accomplish this, but it has re- 
mained for Dr. Lee De Forest to 
bring the "talkies" to their present 
stage of advancement. 

Mr. Edison's first attempt was 
made by the simple process of play- 
ing stock cylinder records on a phono- 
graph and having the actors sing, or 
pretend to sing, with the record, while 
the camera photographed the lip 
movement. By this method syn- 
chronization was impossible. Some- 
times the singer would be so far ahead 
or behind the record that the result 
was laughable. 

Edison knew this would never do, 
so he finally invented the "kineto- 
phone." Again he used the phono- 
graph, but he obtained better results 
by making the phonograph record at 
the same time as the motion picture 
negative. This gave perfect syn- 
chronization in the taking of the 
pictures, but two operators were 
needed for the projection — one for 
the film in the booth and the other, 
back stage, to run the phonograph. 

Sometimes the results were good. 
More often they were not. But, nevertheless, these pictures 
had quite a vogue and drew great audiences all over the 
country. Edison was not satisfied, but he never was able to 
get perfect synchronization, nor was any of a dozen others who 
tried. • 

About this time Lee De Forest, then a young electrical engi- 
neer in the West, was experimenting with wireless, or radio, 
as it is now called. Out of this came the "audion," which is 
now a part of every radio set and which makes broadcasting 

78 



A section of the Phonofilm 

with the action and voice photo- 
graphed together. The sound 
reproduction is contained in 
the parallel lines, which may 
be seen at the left of the film 



This is what the Phonofilm does. The picture is 
projected in the usual manner. The light waves 
which record the sound on the margin of the film 
pass through a photo-electric cell which converts 
them into sound waves. Wires carry these sound 
waves to the amplifier — or loud speaker — and the 
sound comes to the screen in exact synchronization 
with the action 



and receiving possible. Three years ago De 
Forest became interested in motion pictures 
and began his experiments to make them talk. 
He realized that synchronization and audibility 
were essential. After three years he has worked 
out his "Phonofilm." He has synchronized the 
picture and the voice by photographing the 
sound on the same strip of film with the action 
and at the same time. Instead of the voice 
being phonographed, it is radioed from the 
speaker's lips, by sound waves, to the camera. 
There these sound waves are converted into 
light waves and photographed on the left side 
of the film. 

All of this is accomplished with any standard 
motion picture camera, to which has been added 
an attachment for photographing sound. 

The negative thus produced is developed in 
the usual manner and prints made exactly simi- 
lar to the prints of any other motion picture. 

In projecting the De Forest Phonofilms, an 
inexpensive attachment is necessary, which fits 
on any standard projection machine. In this 
attachment is a tiny incandescent lamp. As 
the film passes this light, the lines made by the 
flickers" or light waves. These light waves are 
infinitesimal wires and converted into sound 
Other larger wires take the sound waves into 



voice become ' 

picked up by 

waves again. 

the amplifier, from which they are carried from the projection 

room by ordinary wires back-stage, amplified again, and thrown 

on the screen in precise synchronization with the action of the 

scene. 

"But what if the print should break?" 

That is one of the first questions [ continued ox page 134 1 




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Don't fail to look for it! 



Above is 
Pattern 
Ho. 536 



For the summer porch, too — 
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Parching sunshine, driving rain, 
the mishaps of many porch parties! 
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Congoleum Rugs hug the floor 
without fastening of any kmd. 



Among the many artistic designs 
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every room in the house. 

6 ft. x 9 ft. £ 9.00 9 ft. x 9 ft. 313.50 

l]/ 2 h. x9ft. 11.25 9 ft. xlOKft. 15.75 

9 ft. x 12 ft. 318.00 

The patterns illustrated are made only inthe five large sizes. The 
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VA ft. x 3 ft. $ .60 
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Owing to freight rates, prices in the South and 

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Gold Seal 



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(ONGOLEUM 

^4rt-Rugs 






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a 



Your future is your own makim 



•n 



How a simple rule of daily care is bringing freshness, 
charm, and prolonging youthful appearance for millions 




SPARKLE and life, admiration and ro- 
mance! — these every woman wishes 
most to come true. But merely wishing 
will not bring them. You must help nature 
to attain them. A skin fresh, buoyant and 
alluring — you can have it if you try! 

Begin today by giving your skin the care 
it needs. If you are in your teens, develop 
the sweetness of your youth. If you've 
passed the danger line of 25, it is urgent 
to supply your skin with the elements the 
years are striving to take away. 

The secret is simple. Not costly beauty 
treatments, just the daily use of palm and 
olive oils as embodied in Palmolive. 

Never let a single day pass without 

doing this. See what one week 

alone will do ! 

Use powder and rouge if you wish. But 
never leave them on over night. They clog 
the pores, often enlarge them. Blackheads 
and disfigurements often follow. They must 
be washed away. 

Wash your face gently with soothing 
Palmolive. Then massage it softly into 
the skin. Rinse thoroughly. Then repeat 



both washing and rinsing. Apply a touch 
of cold cream — that is all. Do this regu- 
larly, and particularly in the evening. 

The world's most simple beauty 
treatment 

Thus in a simple manner, millions since 
the days of Cleopatra have found beauty 
and charm. 

No medicaments are necessary. Just re- 
move the day's accumulations of dirt and 
oil and perspiration, cleanse the pores, and 
Nature will be kind to you. Your skin will 
be of fine texture. Your color will be good. 
Wrinkles will not be your problem as the 
years advance. 

Avoid this mistake 

Do not use ordinary soaps in the treat- 
ment given above. Do not think any green 
soap, or represented as of palm and olive 
oils, is the same as Palmolive. Palmolive is 
a skin emollient in soap form. 

And it costs but 10c the cake! — so little 
that millions let it do for their bodies what 
it does for their faces. Obtain a cake today. 
Then note what an amazing difference one 
week makes. 



The Palmolive Co. (Del. Corp.) 
360 North Michigan Ave., Chicago. 111. 



t m& 




Note carefully the name and 
wrapper. Palmolive Soap 
is never sold unwrapped. 



Palm and olive 
oils — nothing else 
— give nature's 
green color to 
Palmolive Soap. 



Volume and 

efficiency produce 

25c quality 

for only 



10 






Copyright 1924-The PalmolWe Co. 2433 




Polas, 
Barbaras 
6? Glorias 

by the 
Thousands 



Styles, coiffures and 

manners 
of American stars 

copied by girls 

of the world, says 

Vicente Blasco Ibanez 



*J% 




By Helen Taggart 



<< 



IN London there are ten thousand Gloria Swansons. 
In Gothenberg, Anna Q. Nilssons compose half the 
feminine population. 
Berlin's dernier cri is the Pola Negri tricorn, or the in- 
sinuating Negri smile. 

Sydney boasts five hundred Sylvia B reamers. 

Italy has been divided into the camps of Valentinos and 
Montanas. 

Paris has twelve and a half thousand Gloria Swansons. 

And from Tahiti to Helsingfors, every little girl-show has a 
Mae Murray all its own. 

The American picture star has replaced the Viennese light 
opera prima donna of the nineties as the world's creator of 
fashions and standard of charms. 

There are potential Mary Pickfords in every village where 
there is a picture-show. Since "East is West," Constance 
Talmadge has become the China flappers' glorified type. 
Rosita has revealed a new enchantress to Spain. 

And the secret of the American movie stars' lead of inter- 
national womanhood is unchallengeable supremacy. These arc 
not the ravings of a nationalist fan. It is the sage decision of 
an eminent psychological novelist, Vicente Blasco Ibanez. 

It is an axiom that nobody understands women as well as a 
great novelist. And it is a cinch that no man can claim to 
understand them better. Senor Ibanez has been closely (and 
profitably) identified with Hollywood in the filming of his 
"The Four Horsemen of the Apocalypse," "Blood and Sand," 
and"Enemiesof Women, "and he was hereto tell the world that, 
what Germany was to surgery, what Ireland is to inspired 
belligerency, and what Brazil is to nuts, Hollywood is to the 
ladies. 

"Your stars lead, others follow," Senor Ibanez had said, tearing 
himself away from the significant refreshment of quartered 
apples to make this analysis of the modern Eve. "The in- 
fluence of the American movie actress extends beyond her own 
country, where it is understood and taken for granted, to every 
foreign land where pictures are shown. Europe has no movie 
actress to compare with yours. One or two? Perhaps. But only 
for their own countries. Hollywood stars are for the World. 



"And apart from the beauty, the charm, the personality of 
the actresses, some of their importance lies in that they are so 
typical. You have a Mary Pickford for one role, a Gloria Swanson 
for another, a Mae Murray for the vivacious girl, a Pola Negri 
for the intense one, a Barbara La Marr for the super-civilized, 
artificial beauty, a Nita Naldi for the play which requires a 
temptress. Each type becomes specialized, so standardized it 
is strengthened. It becomes an authentic example. 

"And all over the world, women observe their own type on 
the screen and, both consciously and unwittingly, imitate the 
actress who represents it. I have seen in Paris at one time 
every girl wearing her hair so, like Pearl White." The Spaniard 
made a grotesque gesture toward his important head to illus- 
trate the valiant serial heroine's "set" coiffure. 

"And," he continued, with an impressive sweep of his hand, 
"it is not only the young shop girl or stenographer who 
practices this imitation. The foreign players themselves do it. 
They call themselves 'the French Jackie Coogan,' 'the Italian 
Mary Pickford,' ' the Danish Norma Talmadge.' And they are 
proud when they are described that way. It is the dream of 
every European actress to come to Hollywood and develop into 
an American favorite." 

Senor Ibanez' Spanish eloquence here made impressive that it 
wasn't only the foreign exchange which made the position of 
the picture pet so enviable. The success of his own films had 
given him some opportunity to study that. But he explained 
the flattering lead of the Hollywood actresses more from the 
slant of popularity than wealth. They are the darlings of the 
world. They may not be the greatest actresses. Hut there is 
no denying the assertion that Farina has a more appealing 
screen personality than even the irresistible Ethel Birrymore. 

And with Farina here reoccurs the inevitable consideration of 
lure. The stimulation of positive attraction is a necessary 
prelude to popularity. The most interesting story could be 
ruined by an unappealing, unattractive heroine. And it is the 
excited interest in following the story which pays at the box 
office. 

"The movie is the picturized version of the novel." said the 
novelist. "It gives the same [ continued on page 134 ) 

SI 




She Loves the Cows 
and Chickens 

"HPHIS is the life," says Anna Q. Nilsson on her farm, ten 
JL miles from Hollywood, where she gives the horse a per- 
manent wave, does close-ups with the cow and feeds the 
poultry by hand. Husband John Gunnerson seems to devote 
his time to horse training. 

N. B. — The original "Anna Q. Bob" is getting curly. 





82 



Photoplay Magazine — Advertising Section 



83 




The young bride waved 
her handkerchief as the 
car drew away from the 
host of well-wishing 
friends. 

"Stop waving, dar- 
ling, " said the happiest 
man in the world. "I 
want to look at you — 
you never seemed so beau- 
tiful as you do right 
now!" 



Did Nature fail to put 

roses in your cheeks? 



By Mme. Jeannette 



THE first time a girl looks into her 
mirror with the conscious desire to 
see what nature has done for her skin, 
she is aware of her coloring! If there 
are roses in your cheeks there is added 
charm to the reflection. If you have 
no color, you will wisely decide to 
put it there ! 

Rouge, properly used, is recognized 
today as one of the important essen- 
tials to the toilette. 

When you select your rouge 

Pompeian Bloom is a pure, harmless 
rouge that beautifies with its remark- 
ably natural tone of color. It comes in 
compact form, and is made in the four 
shades essential to the various types 
of American women. 

It is as important to select the right 
tone of rouge as it is to select the 
right shade of powder. 

The following general directions 
will be of assistance : 

The medium tone of Pompeian 
Bloom can, and should, be used by 
the majority of women in America. 
This is a lovely natural rose shade 
most frequently found in the skin of 
women who are not extreme types. 
Generally used with Naturelle shade 
of Pompeian Beauty Powder. 

The light tone of Pompeian Bloom 



is the clear, definite pink found most 
frequently in the coloring of very 
fair-haired women. This tone of rouge 
may go with the Naturelle, the Flesh, 
and occasionally with the White 
Pompeian Beauty Powder. 

The dark tone of Pompeian Bloom 
is for the warm, dark skin typical of 
the beauties of Spain or Italy. It is 
most often effective with the Rachel 
shade of Pompeian Beauty Powder, 
also with Naturelle shade. 

The orange tint gives exactly the 
coloring essential to women who 
have red or bronze tones in their hair, 
for most frequently these tones are 
repeated in the skin. This rouge has 
been used almost exclusively by 
women if they live much out-of-doors. 

It combines with Naturelle 
Pompeian Beauty Powder, but also 
looks well with Rachel when the skin 
is olive in tone, and with White 
Pompeian Beauty Powder if the skin 
is very white. 

Note — Do not try bizarre effects 
with your rouge. Make it look natural, 
use it discreetly, and use too little 
rather than too much. 

V 
"Don't Envy Beauty — Use Pompeian" 

BLOOM (the rouge) 60c per box 

In Canada 65c 



Get 1924 Pompeian Panel and Four Samples for Ten Cents 

The newest Pompeian arc panel, "Honeymooning in the Alps," done in 
pastel by a famous artist and reproduced in rich colors. Size 28x7'^ in. 
For 10 cents we will send you all of these: The 1924 Beauty Panel and 
samples of Day Cream, Beauty Powder, Bloom(rouge), and Night Cream. 

POMPEIAN LABORATORIES, CLEVELAND, OHIO 

Also Made in Canada 




You Needn't Fear 
the Summer Sun 

It is a very unwise woman who 
actually courts the rays of the mid- 
summer sun, for it has a searing 
effect that may prove seriously in- 
jurious to her skin. But, with care, 
you should be able to get out-of- 
doors all you want to without 
sacrificing the loveliness of your 
complexion. 

The enemies of the skin that are 
active at this time are — the direct 
rays of the sun between the hours 
of 10 a. m. and 4 p. m., and the re- 
flected rays of sunlight from water. 
These rays seem to concentrate all 
the scorching power of the sum- 
mer sun and visit its heat unspar- 
ingly; then, the wind is hot and 
drying — even if it is an apparently 
calm day, dry air will be rushed 
over your skin when you are 
riding. And all these things tend 
to dry — yes, to shrivel your skin. 

A panacea for these summer 
dangers is the generous and con- 
sistent use of Pompeian Night 
Cream. The minute you come into 
the house, if your skin feels the 
least bit scorched, you should use 
Pompeian Night Cream. Apply it 
over the sunburned or wind- 
burned parts — its cool, white soft- 
ness will be as soothing as fresh 
water to a parched throat. 
Pompeian Night Cream contains 
oils that are healing and softening 
to a burned skin. If the burn is 
severe it is well to lay clean strips 
of gauze or cotton covered with 
Pompeian Night Cream over the 
burned parts till much of the feel- 
ing of heat has disappeared. Al- 
ways keep your jar of Pompeian 
Night Cream in a convenient place. 

All during the summer your 
Pompeian Night Cream will be 
"ihe best friend of your skin" if 
you will use it for cleansing, soft- 
ening, healing. And, for a dry skin, 
it is the best possible powder base. 



A 



ItOUowitti 



Specialiste a Beaut'e 



(a rouge) 



gi^cpTTS^res'sagrirftsra^^ 



L 



TEAR OIF, SIGN, AND SEND 

POMPEIAN LABORATORI1 S 
2131 Payne Avenue, Cleveland, Ohio 

Gentlemen: I enclose 10c (dime preferred) for 
1924 ^Pompeian Art Panel, "Honeymooning in the 
Alps," and the four samples named in oifcr. 



Name 



Address 
City 



What shade of face powder wanted f 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




By Ivan St. Johns 



SOME of the shrewdest minds in the motion picture busi- 
ness have tried it and failed. 
And there are still others who haven't had a chance to 
try who think they might get away with it. 

But it remained for a youth of twenty to fool Mary Pickford 
and get away with it. In so doing he won his spurs in the 
motion picture industry. 

The boy who fooled Mary Pickford — made her believe he 
was a young Italian actor born in Naples who could speak but 
broken English — is Eddie Phillips, who recently played the 
juvenile lead in the picturization of " Cape Cod Folks." By 
his deception he won the juvenile lead in Miss Pickford's "The 
Love Light." This was three years ago. 

Phillips is a Philadelphia boy who, while a freshman at the 
University of Pennsylvania, decided he would rather be an 
actor than a civil engineer. At the end of the first semester 
he sold his books and boarded a train for New York to seek 
fame and fortune. Eddie's total bankroll at the time was 
S27.50. In a very short time he was penniless and hungry. 

Then came his big chance. Through an acquaintance, he 
learned that Mary Pickford, who was in New York at the 
time, wanted a young Italian actor for the juvenile lead in 
"The Love Light." Phillips is tall, slender and dark — almost 
swarthy of complexion, with large brown eyes of the true 
Latin type. With the aid of an Italian boy, Eddie started to 
transform himself into an Italian. He practiced his tutor's 
broken English until he was almost letter-imperfect. 

Phillips didn't dare wait longer for fear some real Italian 
would snap up the part. With an Italian paper sticking out of 
his coat pocket and an accent so strong it was almost unin- 
telligible, he presented himself as a young actor, born in 
Naples. After a few questions, evidently satisfactorily an- 
swered, Miss Pickford engaged him. 

The trip to California was almost over before Miss Pickford 
found him out. The star decided it was such a good joke and 
such a clever piece of acting that she would trust Phillips with 
the part anyhow. 

fit. 



Boy Who 
Fooled 
Mary 
Pickford 



Eddie Phillips 
imitated an Italian 

so well 
he won a role in 
"The Love Light" 




Mary Pickjord and Eddie Phillips in " The Love Light" 
and {above) Mr. Phillips as an Italian boy 



Photoplay Magazine — Advertising Section 



8 5 



The reading of this 
page will teach you 
the care of your 
gums and may pre- 
vent your tooth- 
brush from ever 
"showing pink." 




*J 




Soft food robs the 
gums of stimulation. 



Do we kill our teeth 

and gums by kindness? 



IS THE TROUBLE with our teetli 
and gums that we are too kind to 
them? Yes, if you think it is kind- 
ness to save them from work. 

But it really isn't kindness. To 
remain firm and healthy, gums need 
stimulation and a good rousing circu- 
lation of the blood within their walls. 

Given that, you can laugh at pyor- 
rhea. You can be free of all those 
tooth troubles which have their ori- 
gin in flabby and congested gums. 

How soft food causes 
"pink toothbrush" 

Most of the trouble starts with the 
food we eat. It is soft; it does not 
stimulate the gums as it should. 
Often we eat too quickly, again de- 
priving gums of stimulation. Our 
gums grow soft and flabby. Pink 
toothbrush" appears — the forerun- 



ner of those troubles of the gums 
which are increasing at such an 
alarming rate. 

With this condition to face, it is 
not remarkable that peoplcare com- 
ing to understand that ordinary 



methods of cleaning or scouring are 
inadequate. Properly to care fbryoar 
teeth, you must also care for your 
gums. You need a preparation that 
stimulates the gums as well as one 
that cleans vour teeth. 



How Ipana helps the health of your gums 



For this reason, thousands of prac- 
titioners now use Ipana in their 
practice. In fact, to professional rec- 
ommendations the first success of 
Ipana can be traced. 

Many dentists, in the treatment 
of soft and tender gums, recom- 
mend a massage of the gums with 
Ipana ({fier the ordinary brushing 
with Ipana. For Ipana contains 
ziratol, a valuable hemostatic and 
antiseptic, used throughout the 
country by the profession, to allay 
tire bleeding of the wound after 



extraction. Because of its presence, 
Ipana has a definite virtue in the 
healing of bleeding or tender gums, 
and in keeping healthy gums hard 
and firm. 

Try a tube of Ipana today 

If your gums are tender, if they bave 
a tendency to bleed, go to the drujr 
store today and buy your first 1 1 1 1 ■> • - of 
Ipana. Before you have finished using 
it. you cannot fail to note the improve- 
ment. And you will be delighted with 
its fine, grit-free consistency, its deli- 
cious flavor and its clean taste. 



^^^B iWA 3f& J^^L y° u f" r </■".<. will I"- ^^^- \T-^yA\ 

\^r Mm. I^a. #m *' adh if yo " "'"''"' ^(f^Pvw^ 

J^ ^^^^% ^I.Jl A ^*^*^^t'> BRISTOL-MYERS CO., Dept. 1-7 

-,j!^5jL (^^L )1| 42 Rector St., New York, N. Y. 
TAN ATU "DA QTF ^-I^^^S^ ^^/M Kindlv 8Pnd me a *' ial tab8 ° f IPANA T ° OTH I 

[ Vr^/ \ J_ ff* - ■ I 1 - ^^7%. ^ *^f * C %&\ Pasti: without chargeorobligationon my part. 

— made by the makers .<— ^tf/^^^^2i ^ \ ^^^^ I 

of Sal Hepatica ^4 ^^^^f^J*^ ' , ' / '''"''" 

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



86 



Photoplay Magazine — Advertising Section 




Vill He Ask 

jox a Second Dance ? 

CT71 /"ODERN men are pleased to see women returning to the healthy, active, 
dy r(/ outdoor life and the freedom from stuffy and hobbling fashions in 
dress which characterized the women of ancient Greece, and has been admired 
for centuries. 

The girl who refuses to dress in the fashion of the hour — in filmy, sleeveless 
gowns or the sheerest of waists — or who fails to rid herself of the disfigurement 
of under-arm hair; the girl who sits inert and lifeless, with arms fettered to her 
sides, rarely meets with masculine favor. She is thought lifeless and behind the times. 

Many women have hesitated to use a razor, believing it unwomanly and risky, 
and justly so. But Neet makes the removal of unwanted hair a thoroughly fem- 
inine and dainty process. After an application of this fragrant velvety cream you 
simply rinse the hair away. If Neet is not available-at your favorite toilet counter 
use the coupon below. 

Satisfaction Guaranteed 



Highly magnified cross-section of 
skin and hairs. New hair grows In 
the bulb-like root (papilla) . Injury 
to the papilla from pulling out hairs 
frequently causes two or three hairs 
to grow In place of one. 




This shows the stub? ot 
hair left after shaving 
with a razor. Note the 
blunt ends. Shaving 

stimulates a harsher and 
quicker growth. 




This shows how Neet dis- 
solves the hair below the 
surface of the skin, and 
leaves the projecting end 
finely tapered. Growth 
Is slower and finer, none 
of the discomfort of 
shaving. 



It costs you nothing unless you are perfect- 
ly satisfied. You are invited to test Neet on 
our absolute guarantee of entire satisfaction 
or refund. Go to any drug or department 
store — purchase the generous package for 
only 50c. Apply it according to the sim- 
ple directions enclosed. If, after using Neet, 
you are not thrilled by the soft, hair-free lo ve- 

Nurses and Physicians 



liness of your skin, let us hear from you. 
Neet must absolutely please you in every 
way or you can remail the package to us and 
we will refund your purchase price plus the 
postage it costs you to return it to us. If you 
are unable to find Neet at your favorite drug 
or department store, use the coupon below. 



The sterile, antiseptic, hair-dissolv- 
ing qualities are so highly developed 
in Neet that it is in favor with many 
of the profession for depilating in 
preparation for obstetrical and sur- 
gical work. 



A liberal trial tube with complete 
instructions for use will be mailed 
free to any physician or registered 
nurse requesting it. 



Galatea, by Marqneste after 
the myth of Pygmalion and the 
etatue, said by the Greeks to 
have come to life because of 
Pygmalion's great love of her. 






Removes hair easily 



HANNIBAL PHARMACAL CO. 

610 Locust St., St. Louie, Mo. 

am unable to get Neet from my dealer, 

bo I am enclosing 60c for a tube of Neet, 

prepaid by mail. 

NAME 

ADDRESS 

CITY STATE 

My Dealer's 

Name is ............. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 




QUESTIONS and ANSWERS 



H. R. H., Aurora, III. — For a way to dis- 
tinguish Tom Moore from his brother, Owen, 
you might write and ask one of them to dye his 
hair or something. Personally, we don't have 
much trouble. Why don't the producers 
pursue Maurice (Lefty) Flynn? Perhaps they 
haven't noticed that he is "a little John Barry - 
more's type." He is thirty-one years old and 
was divorced a few weeks ago. Played in "The 
Uninvited Guest" and "The Code of the Sea." 
Huntley Gordon is about thirty-three. He is 
six feet tall and is not married. Among his 
pictures are "The Enemy Sex," "True as 
Steel" and "Bluebeard's Eighth Wife." 

B. V. D., St. Catharines, Canada. — 
Barbara La Man really bobbed her hair. 
Someone told her that the "horse and buggy" 
coiffure didn't match her Rolls-Royce style, so 
off it came. Pola Negri is twenty-seven, as are 
Natacha Rambova Valentino and Joseph 
Schildkraut. The latter is happily married to 
Elsie Bartlett. 

A. S. King, Springfield, Mass. — You ask 
why Theodore Kosloff , " the most artistic man 
you have ever seen," is not seen more often in 
the movies? M. Kosloff undoubtedly suffers 
from the embarrassment of riches, having as 
great a talent for dancing as for acting. He is, 
as you probably know, one of the country's 
leading dancing teachers. However, you will 
see him in "Triumph." 

T. L. K., Cedar Rapids, Iowa. — Indeed 
.Bebe Daniels has not retired from the screen. 
Right now she is making idol-worshippers of 
most of New York's citizenry, having taken up 
her temporary abode there while making 
"Monsieur Beaucaire" with Rodolph Valen- 
tino, and "The Unguarded Woman" at the 
Lasky Studio, Long Island City, N. Y. She 
was born in Dallas, Texas, January 14, 1901. 

Mildred, New York, N. Y. — "Admire 
Kenneth Harlan — on the screen." A cagey 
young person you are, Mildred, to add that 
qualifying phrase. But you come back and 
remark that "he is the most charming young 
man you have ever seen," and that you "see all 
his pictures three times." That's popularity, 



"V"OU do not have to be a subscriber to 
■*■ Photoplay Magazine to have ques- 
tions answered in this Department. It 
is only necessary that you avoid ques- 
tions that would call for unduly long 
answers, such as synopses of plays or 
casts. These, together with addresses 
of players, require a stamped and ad- 
dressed envelope. A complete list of 
studio addresses is printed elsewhere in 
the magazine every month. Do not ask 
questions touching on religion, scenario 
writing, or studio employment. Write 
on only one side of the paper. Sign your 
full name and address; only initials will 
be published, if requested. Write to 
Questions and Answers, Photoplay 
Magazine, 221 West 57th St., New 
York City. 



Mildred. His age is twenty-nine years. He is 
six feet tall, and weighs one hundred and 
eighty-five pounds. He makes personal ap- 
pearances with the screen version of "The 
Virginian." The general impression for 
several months is that he is engaged to Marie 
Prevost. 

Frank Braum, Baltimore, Md. — We want 
to be a little pal, Frank, but the addressee of 
fifty-five actors! It would be simpler to send 
you a motion picture directory. See the an- 
nouncement at the head of this department. 

Josephine C, Oakland, Cal. — Harrison 
Ford your old love, is he? You know the song. 
"Old loves are the fairest, old friendships the 
rarest "? Anyway, Harrison is not married and 
he has slick brown hair and soulful brown eyes 
and you will see him soon in support of Marion 
Davies in "Janice Meredith." I guess that's 
handing you a bright little portion of news, 
isn't it? 

Miss Mercedes, San Francisco, Cal. — 
Norma Talmadge is twenty-seven and weigh- 
about a hundred and ten pounds. Anita 



Stewart has not retired from the screen. Her 
latest picture is "The Great White Way" She 
will start work on another picture soon. 

C. W. M., New York, X. Y.— Xeil Hamil- 
ton is married. His age is twenty-four year-. 
Charle- .Mack has been making personal ap- 
pearances with "America." 

C. J. K., La Harpe, Kan. — Reginald Denny 
is married. While I write this he is at work on 
a production of "The Missourian." His age is 
thirty-two. Jack Mulhall is a benedict. 

Sunshine Special, Houston, Tex. — You 
have missed some of Norman Kerry's pictures. 
He is almost continuously busy at the studios. 
Two of his recent appearances were in 
"Cytherea" and "Between Friends." Mr. 
Kerry is twenty-nine. He is not married. 

Ethel, Butler, N. J — Charmed to be of 
service. Webster Campbell i- the leading man 
in "The Pleasure Seekers." Tom Moore play- 
on both stage and screen. He was in the play 
"Thieves in Clover," which closed recently, 
and his last appearance for the screen was with 
Gloria Swanson in "Manhandled." Yes, 
Corinne Griffith has married again. 

Seventeen, Chicago, III. — Ramon Xo- 
varro was born in Durango. Mexico, in [889. 
Hi- height i- live feet ten inches; his weight, one 
hundred and sixty pounds. His hair and eyes 
are black. He Completed "The Aral)" in 
Algiers in February. The picture that follows 
is "The Red Lily." Cullen Landis is the only 
southern gentleman who does not answer when 
you say "Colonel.'' His dimensions are five 
feet six inches, and one hundred and thirty 
pounds. Slim. His latest picture i- "The 
fighting Coward." It was Andree Lafayette 
who played the title role in "Trilby." 

M. K., Chicago, III. — Roscoe Arbuckle is 
assistant director for Buster Keaton. 

Harry. Grasse Point. Mich. — You lose, 
Harry. Your mother wins. Gloria Swanson 
has bobbed hair. Haven't you seen the Gloria 
Swanson bob? 

87 



A. M., York, Pa. — Better write Viola Dana 
for the name of the man who planned the home 
in Beverly Hills, of which Photoplay pub- 
lished the pictures you admire. I do not know 
the architect's name. 

Peggy, Milford, Conn. — I thank you for 
the way you ended your letter, Peggy. Your 
admired Leatrice Joy is twenty-seven. She is 
the wife of John Gilbert. Her birthplace is 
New Orleans. Her latest picture is "Triumph." 

Roy, Van Nuys, Cal — It is the C. C. Burr 
Co. with which Constance Binney is associ- 
ated. She has been playing in the musical 
comedy, "The Sweet Little Devil," in New 
York. Miss Binney is not married. 

Dorothy, Tre\illian, Va. — Of course I 
will be nice and kind enough to tell you what 
you want to know. It was Mary Pickford who 
was chosen as the most beautiful of the sixty 
actresses whose pictures were published in the 
January number of Photoplay Magazine. 

Mickey, Chicago, III. — Nay, Michael, 
Barbara La Marr has not had ten husbands. 
Subtract seven from that sum. Her age is 
twenty-eight, since you must know. 

Mrs. H. B., Elyria, Ohio. — To settle a row 
among six people or more, I take the stand and 
give my solemn testimony that William Hart's 
official age is forty-nine years. 

V. Rega, New Haven, Conn. — Marion 
Davies and Mildred Davis are not sisters. No 
relation. Marion Davies' next production will 
be "Janice Meredith." 

Alberta, Louisville, Ky. — The young 
man whom you characterize as "the best look- 
ing of actors and certainly adorable," has just 
reached his majority. He can vote. Richard 
Barthelmess married Mary Hay, star of 
"Mary Jane McKane." They have a little 
daughter who was born last summer. 



A. B., Trinidad, Colo. — Baby Peggy's 
latest picture is "Helen's Babies." Harrison 
Ford's coloring is brunette, brown hair and 
eyes. He has not married since being divorced 
from Beatrice Prentice. 

Sphinx, Summit, N. J. — You misspelled it. 
Thomas Meighan is forty-five and looks 
twenty-eight. I saw him yesterday. His smile 
won an entire business office, including the 
Nubian who commands the elevator's activi- 
ties. Said the Nubian: "I knowed him by his 
smile." Yes, I will repeat Richard Dix's oft 
given age, as you say, "for you." Twenty- 
nine. Douglas Fairbanks, Jr., is thirteen years 
old. Your "stunning man, Antonio Moreno's," 
last picture was "Tiger Love." 

C. W., 'Wakefield, Mass. — Bebe Daniels' 
age is twenty-three. Her last picture was "The 
Unguarded Woman." 

G. K. S., Attica, N. Y— With speed, I 
obey. Jobyna Ralston was born in Tennessee 
nineteen years ago. She attended dramatic 
school in New York for a year. Appeared in 
the musical comedy "Two Little Girls in 
Blue." 

M. F. B., Chicago, III. — Rodolph Valen- 
tino has been making the picture "Monsieur 
Beaucaire." He will star in the title role. 
To secure copies of Photoplay Magazine 
which contained pictures of Mr. Valentino, 
preceding 1923, write to the office of this mag- 
azine, 750 North Michigan Ave., Chicago, 111. 
Send a quarter for each copy. Ask for Sep- 
tember, 1921, November, 1921, January, 1922, 
April, 1922, May, 1922, June, 1922, July, 1922 
(cover), September, 1922. 

Connie, Freeport, Long Island, N. Y. — 
Don't worry about James Kirkwood, Connie. 
He is as hard at work at the Thomas H. Ince 
Studio. Anyway, he has recovered from his 
illness. May McAvoy's age is twenty-two. 
Lila Lee's (Mrs. James Kirkwood), twenty-one. 



J. G. C, Auburn, Me. — Settle an argument? 
Watch me. Viola Dana and Shirley Mason are 
not twins. But they're sisters. The family 
name is Flugrath. 

Norman Kerry's Admirer, Napa, Calif. — 
You admire two handsome actors equally but 
hasten to tell me that you are not fickle. You 
know better than I do, whether your heart is 
divided, Girl of Napa. Norman Kerry's age 
is twenty-eight. He is not married. Richard 
DLx is in his twenty-ninth year. As to his 
matrimonial state, he is not. 

A. M., Grass Valley, Cal. — Francis X. 
Bushman will appear in the role of Messala, in 
the Goldwyn Production, "Ben Hur." Frank 
Mayo's age is thirty-eight. 

M. N. (A "Leatrice Lover"), Chicago, 
III.- — The lady of your homage, Leatrice Joy, 
has black hair and brown eyes. Her height 
is five feet, three inches. She was married to 
Jack Gilbert in April, 1922. 

The Girl Who Likes Elaine Hammer- 
stein, Detroit, Mich. — Elaine Hammer- 
stein sent you her photograph inscribed 
" Yours most sincerely" and everyone to whom 
you have shown it "has fallen in love with her 
sweet face." You are sure that if they saw her 
in the movies they would be enchanted by 
"her equally sweet manners." You are a 
strong pleader, Miss Detroit. Ever study 
law? You would be a good lawyer and a power 
before the jury. Your idol was born in New 
York in 1897. She was educated at Armitage 
College. Shh is five feet, five inches tall and 
weighs one hundred twenty pounds. She has 
eyes of the intellectual color. Yes, gray. 
Her hair is brown. She began her professional 
career in the musical comedy, "High Jinks," 
under the management of her father. She also 
appeared in the drama, "The Trap," before 
going into pictures. Her debut on the silver 
sheet occurred in "The Face in the Moon- 
light." [ continued on page 106 ] 



built, that in dinner clothes he is as deceptive 
as a man could well be. Nothing of Bob Fitz- 
simmons' long, powerful arms, or Jeffries' hulk 
about Dempsey. 

Why, a man might tackle him on the street 
without a qualm. 

I was thinking that when I happened to look 
at his hands. I have never seen such hands in 
my life. I had a sinking sensation as I imag- 
ined one doubled, crashing forward, like a 
giant battering ram, with one of those strange, 
fighting brains behind it. And slowly, a sense 
of his great power and his great bodily control 
came over me. 

As I said before, it caught me off my feet, 
this strange, negative, likable personality. I 
took the count several times as I sat watching 
him, wondering what on earth I'd better say 
first. But his mildly patient and pleading gaze 
finally made me clutch at my professional 
poise. After all he wasn't under a microscope 
for dissection. 

"Do you like acting?" I asked him. 

He smiled at that, and he has a nice, slow 
boyish smile that has much charm in it. "I 
can't say I've ever tried any of it," he said, 
quietly, "I can't act, you know. I wouldn't 
pretend I could. I'm doing my best to do just 
like they tell me, and I guess I'm getting by." 
He paused, diffidently, though most of the time 
he talks with surprising ease and naturalness. 
He makes no pretenses and therefore he is 
never embarrassed. His self-possession is ex- 
traordinary. "I tell you one thing, though. 
The first time I saw myself on the screen, I like 
to went out and cut my head off. That's a 
terrible experience for a man like me. I 
haven't looked in a mirror since." 



ss 



Meet the Champ 

[ continued from page 69 ] 

"Don't let that worry you," I said, "every- 
body feels that way the first time." 

Naively, he brightened. "I'm glad to hear 
that," he said, "for it was a shock. I guess 
they'll make good pictures in spite of me. They 
got Gerald Beaumont to write 'em, and he's a 
swell writer. There's a funny thing about that. 
Beaumont refereed the first fight I ever fought 
in California. He didn't know who I was — no- 
body did — and I didn't know him, but when 
we got to talking, it came out. He's an old 
friend of mine now. 

"I've got a lot of my pals out here. I feel 
easier. Chuck Reisner is playing the villain 
and I've known Chuck all my life. I feel as 
comfortable as an old shoe, with Chuck. And 
he slips it to me quiet when I'm in wrong." 

"How'd you happen to go into pictures." 

"I didn't. I never had no such idea. One 
day I get a telephone from Universal studio, 
and they say Jack Kearns, my manager, has 
signed a contract for me to make pictures and 
I better come out. I said 'All right.' I went 
and when they showed me the contracts and 
the salary I thought they was reading box car 
numbers or something. But I said 'All right, 
when do I go to work? ' They said now. And 
in half an hour, I was making a picture. That's 
fair enough. There's some awful funny gags in 
this picture I laugh myself. It's just after I 
won the championship, and some guy that's 
pretending he's for me is framing on me with a 
girl. Really, this is the second picture, but 
we're making it first so I'll get used to it and 
the first one will be good. I hope I'll do all 
right. I like to please folks." 

I told him I greatly admired his Firpo fight, 
because although he was champion and could 



have boxed with Firpo, he had stood toe to toe 
and slugged those terrible rounds, something 
darn few champions would have done or even 
thought of doing. 

He said, with his surprising honesty, "I 
never thought of doing anything else. Folks 
liked that fight. I liked it myself. When folks 
come a long way and pay a lot of money for a 
fight, I like it to be a good one." 

I don't know how I happened to mention my 
Dad. It's a habit I have, because Dad was the 
final authority on everything to me. 

The Champ looked at me a minute. "Was 
he your Dad? " he asked. 

I nodded. He put out one big paw, as simply 
as a kid. "He was my friend," he said, "he 
was awful good to me, once, when I needed it. 
If there's ever anything I can do for you, I'd 
be pleased. Why, he wa,s attorney for Jim 
Corbett, and Jim Jeffries, and Willard, and 
Freddie Welsh — " 

"Oh yes," I said, "and Bat Nelson, and 
Stanley Ketchel, and Jimmy Britt, and Jack 
Johnson, and do you remember — " 

The rest of our interview would belong prop- 
erly only in the Police Gazette. 

But sometime I should like to see Jack 
Dempsey in the ring. It is hard to imagine this 
quiet man, who lives so unpretentiously, who 
buys things only for his old mother and father 
whom he smothers in strange and amazing lux- 
ury, who takes the tenderest care in the world 
of an invalid brother, and who is more polite 
than any other actor in Hollywood, in the 
midst of a deadly, gruelling, blood-red contest 
like the Dempsey- Firpo battle. As a study in 
contrasts, and psychology, I should like to see 
him in the ring. 




Photoplay M igazine — Advertising Section 

Conrad G P>[agel 



8 9 





Lights— 
oAction— 
Camera! 




Under the blinding glare of the Kliegs, through the relentless eye 
of the camera, every mannerism, every action, every item of the dress 
of the star is accurately recorded to be afterwards critically scruti- 
nized by the observing and inquisitive eyes of the nation. 

Conrad Nagel never fails to convince and impress, not only by the exuber- 
ance of his personality and the realism of his acting, but also by the quiet 
elegance and completeness of his attire. Like many other stars of the 
first magnitude he insures the correct appearance of his footwear by insist- 
ing that his Goodyear Welt shoes be finished with visible eyelets — the 
mark of good workmanship, high quality and true style. 



Diamond Brand Visible h'att 
Color Gyelctt have genuine 
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The} promote ear) lacing, 
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outnear the <hoc 



oAsk for shoes with risible eyelets! 
UNITED FAST COLOR EYELET COMPANY 

^Manufacturers of 

DIAMOND BRAND (VISIBLE) FAST COLOR EYELETS 

When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Studio News and Gossip East and West- 



COXTIXUED FROM PAGE 55 ] 




Little Thomasina Mix, "the million dollar baby" daughter of Tom Mix, 

yicl;ed the little Raggedy Ann doll as her favorite of all her toy-filled nursery. 

Nothing raggedy about Thomasina with her beautiful nursery furniture and her 

"simple but expensive" Paris clothes 



■"THOMASINA MIX, two-year-old daughter 
*- of Mr. and Mrs. Tom Mix, has just learned 
to say some of her nursery rhymes. The other 
evening she entertained her father by reciting: 
"Little Bo Peep has lost her sheep," "Baa, 
baa, black sheep," and "Mary had a little 
lamb." 

Tom was greatly pleased, but when she was 
through he said to his wife: "Say, can't you 
teach her about something beside sheep? I 
don't want her to grow up to be a sheep man, 
you know. Find some about cows, and horses, 
\\ ill 3'ou?" 

And when Thomasina knocked over a cup 
and saucer the other day, she went quietly out 
in the kitchen and came back with the brush 
and dust pan. Her father and mother found 
her valiantly trying to sweep up the wreckage. 

Tom stared at her for a moment in surprise. 
"Well," he said to his wife, "I don't know 
where she got that trait, by gosh, I don't. 
Neither you nor I ever used a brush to sweep 
up anything in our lives." 

A XD now another beautiful young film 
-*»-actress has deserted the Klieg lights for the 
fireside. She is Lois Lee, who formerly ap- 
peared in Rex Ingram pictures and who has 
just become the bride of Jack Kiefer. a young 
business man of Hollywood. Of course, every- 
1 ody is washing them the best of luck and all 
1 hat >ort of stuff. She was one of the winners 
of Photoplay's Beauty and Brains Contest 
szven years ago. 

"BARBARA LA MARR has departed from 
U Hollywood for New York, leaving behind 
her a whirlwind of gossip and the usual number 
0/ broken hearts. 

90 



The latest amorous development in the life 
of the screen's greatest vampire is her final 
separation from Jack Daugherty, who thought 
he was her husband until some legal tangles 
arose, and a rumor that young Ben Lyons, a 
new juvenile, is Babby's latest flame. Origi- 
nally when Barbara and Jack separated the plan 
was that they should be re-married as soon as 
her matrimonial complications were sufficiently 
removed. Xow, it seems to be agreed that 
they will allow the break to be final. 

Everybody misses Barbara very much when 
she is gone. There is so much less to talk 
about, and there's always one less person to 
turn to when you need help for somebody that's 
down and out, or chanty for some discouraged 
soul. 

HAROLD LLOYD'S happiness is complete. 
A bouncing baby girl— no, it's only boys 
that are bouncing — now blinks her eyes and 
wriggles her tiny toes and nestles down in the 
luxurious bassinet that has been waiting this 
many a day to receive her diminutive eight 
pounds, in the Lloyd home. There's only one 
person that's happier than Harold — if that is 
possible — and that is Mildred. But Harold is 
so beaming and proud and pleased that one 
just can't help waxing enthusiastic over his 
demonstrations of joy. 

The little stranger has caused a lot of changes 
in the studio plans of both parents. Mildred's 
return to the screen has been delayed and 
Harold, some months ago, is said to have 
promised his wife he would never again take 
such risks as those in "Safety Last." In other 
ways, too, the tiny newcomer, like women 
everywhere, is causing trouble. Just now 



there is a hot argument in Hollywood as to 
whether it's Mildred's eyes or Harold's that 
baby's most resembles. As Ben Turpin puts 
it: "It's not the color of the eyes that count; 
it's the expression." 

Anyway, we're going to try to show you a 
picture of the new baby next month, and per- 
haps then you can decide for yourself. 

T EW CODY tells this one. 

■^ "When I came home from the theater the 

other night my colored boy met me at the door. 

:< 'Mistah Lew,' said he, 'I hopes I done 
right and propah.' 

"'You hope you done right and propah 
about what?' I asked him. 

" 'About Miss Mae Busch. 

" 'This afternoon her and her maid moved 
into that new house back of you-all. Couple 
hours ago her maid went away 'n' 'bout a hour 
ago Miss Busch gets to yellin' sumthin' fierce. 

" ' "Burglars," she yells, "Burglars, Mistah 
Berry! Burglars, Mistah Vidor! Burglars, 
Mistah Cody!" 

" 'From the way she kept on hollerin' I 
knows that Mr. Berry and Mr. Vidor that lives 
acrost the street don't hear her and I knows 
you ain't home. Then she yells, "Burglars, 
Joe!" That's me.' [ coxtixttjd on page 92 ] 




Alberta Vaughn, who recently grad- 
uated from comedies to stardom in 
feature pictures and who no less an 
authority than Mack Sennett declares 
has the most beautiful figure in 
pictures, has startled all Hollywood by 
having herself insured for $50,000 
against that much feared enemy of 
icon/en's charm — fat 



Photoplay Magazine — Advertising Section 



9i 



How the Clasmic Beauty Method 

Revived 
My Skin 



Goodbye to All the Things that Have 

Only Pampered Complexions; 

Skin of Any Age Can Now 

Be Revitalized! 

By Florence Cruzell 

I GLORY in a skin which not long ago was 
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9 2 



Photoplay Magazine— Advertising Section 



In summer 
your hair 

needs 
even more 

care 

JUNE, July and August are 
trouble months for the hair. 
Then sun, wind and water all 
conspire to rob lovely hair of 
its lustre and its charm. 




With proper care, you can keep 
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It is surprisingly economical. 
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Truly Shattuck used to be a musical comedy star. She sang "Alma, Where 
Do You Live/" into popularity. But in Hollytcood, where she runs the 
Shulberg studios restaurant, her cooking has %von her even greater reputation 



" 'And you went over to help her, of course? ' 
I asked. 

' 'Deed I didn't,' says my brave boy. 'I 
yells back "Mistah Cody has went out for the 
evenin' and I ain't been here since eight 
o'clock." ' " 

r^OLLEEN MOORE finished a picture and 
^"* rushed to her new Rossmore home to catch 
up with her gardening. 

She found a pickax, custom-tailored to fit 
almost any Irish gentleman, but much too 
heavy for a little colleen. Swinging it with a 
technique that can only come with Celtic 
origin, the little star aimed it at a weed, missed 
and plunged the spike through her foot. 

She is in the care of her physician at home 
and navigates on crutches. 

Miss Moore is almost a total loss as a heavy 
gardener, in the opinion of the Hon. K. Izawa, 
Japanese botanist, whose life work is the cul- 
tivation of the grounds around the star's home. 

"Not so good pull weeds with pick," he ex- 
plained technically. "Miss Moore loves 
flowers, but more better let K. Izawa do work." 

/^OSH darn it, if they keep on leaving, there 
^- r won't be a picture star left in Hollywood. 
First a bunch left for the New York studios. 
Then another slew of them hopped over to 
Italy to work in "Ben Hur" and the new 
Griffith picture. Then still another company 
ran off to Africa. And now Mae Marsh is 
going to Berlin to star in a big circus picture. 
It was when she went to London three years 
ago that Miss Marsh first set the fashion for 
American actresses to become international 
film stars. Since then she has played in D. W. 
Griffith's "White Rose." 

"pNIXKY DEAN, the young white hope of the 
-*— ' Chuck Reisner family, and little Mary 
Arthur, the cunning youngster, who, according 
to many reviews, stole the honors in "Gentle 
Julia," live across the street from each other in 
Hollywood. Recently they combined forces 
and gave a week-end party at Hermosa Beach 
to twenty little friends. It was supposed to be 
a swimming party, but when they reached the 



beach they found that not one of their guests 
could swim. 

THEY say along Hollywood Boulevard that 
Raymond Griffith is engaged to marry 
Bertha Mann, leading woman in dramatic 
stock in Los Angeles, where she has a large fol- 
lowing. 

BEING a good-looking athlete does not neces- 
sarily mean that a man makes a good 
husband. At least not according to Blanche 
Palmer Flynn, wife of "Lefty" Flynn, who ten 
years ago shone as Yale's star halfback and 
who has more recently won fame as a film 
player. "Lefty" has just been divorced by his 
wife on grounds of the desertion and abandon- 
ment. 

There is now a great deal of speculation on 
whether this divorce will be followed shortly by 
the announcement of Viola Dana's engagement 
to Flynn. A few months ago this would have 
been a foregone conclusion, but recent rumors 
of a quarrel between Viola and "Lefty" leave 
it a matter of doubt. 

ANOTHER of Hollywood's deep, dark 
mysteries has been solved. 

Miss Dupont — she who was shorted when 
Christian names were so generously given out 
by Hollywood producers — and who has always 
been billed simply as Miss Dupont since her 
screen career began, really has a given name 
and a pretty one — it is Pattie. 

We might say," Meet Miss Pattie Dupont," 
but that wouldn't be telling the truth either, 
for Miss Dupont is really Miss Pattie Hannan. 

It all came out in a Los Angeles court the 
other day when she filed a voluntary petition 
in bankruptcy and she had to tell the judge her 
real name. 

PAULINE FREDERICK has built a log 
-*- cabin on her beautiful estate in Beverly 
Hills and this same log cabin has become the 
macaroni headquarters of the motion picture 
colony. Perhaps Polly found macaroni just a 
little too noisy for the home. Anyway, she 
built the cabin at considerable distance from 



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PjIO'IOI'I.W M \(. A/INK — ADVERTISING SECTION 



her beautiful residence, and those epicures of 
Hollywood who have been her guests declare 
Polly is the champion macaroni fashioner of 
the world. She produces it in five, six or 
reel-, and one of her favorite consumi 
Louise Dresser. Lew Cody declares the maca- 
roni parties are spite work and in competition 
to his famous spaghetti feeds. Miss Frederick 
is still considering an olTer to go to England to 
make pictures, but there is a possibility thai 
she may first do one picture here with Ernsl 
Lubitsch. 

RECORDS show — an impressive start, this! 
— that Milton Sills was the busiest star, last 
year. The same records show that Anna Q. 
Nilsson was featured in more productions than 
any other woman, and l hat Tully .Marshall 
and llobart Bosworth made more screen ap- 
pearances than any other character man. All 
of which is unimportant, perhaps — but true. 

THE Dolly sister- have sprung a new fad on 
the Parisian public. For the)' appeared 
together on the Rue de la l'aix the other day, 
leading twin bull dogs. And the bull dogs 
wore ropes of pearls, and the Dolly sisters 
wore shiny black patent leather dog collars. 
Rumor saith that the Dollys were as uncomfy 
as the dogs. 

HOLLYWOOD'S most engaged star is re- 
ported at it again. There's no closed 
season for Connie Talmadge! The latest 
rumored fiance is Buster Collier. Buster is 
going after the lady in a fast and furious man- 
ner, and bystanders say that he's rapidly dis- 
tancing Irving Berlin, John Charles Thomas, 
Irving Thalberg, Rhinelander Stewart, ct al. 

POLA NEGRI believes neither in bigamy nor 
anarchy, thinks the United States a great 
and glorious nation and wants to become an 
American citizen. 

The "Spanish Dancer" danced into the office 
of the Federal District Court clerk and made 
this declaration. Officially the name affixed to 
the certificate of declaration was Apolonia. 
Countess Dombska. Holrywoodian speaking, 
however, the fair applicant for citizenship was 
none other than the great Pola. 

She fluttered into the clerk's office attired in 
a white broadcloth suit, with cute little vest 




How's this fur an exotic hairdress? 
You've got to hand it to these De Mille 
girls — they certainly know how to 
dress their hauls u/>. Agnes Ayres 
has achieved this effect by separating 
the hair into front and back portions, 
drawing tin 1 front port smoothly down 
to the side and then twisting the back 
into a halo-like roll 




Which tooth brush do you buy? 

ISN'T this first picture brought home to you vividly at 
times ? Tooth brushes — lying exposed on a counter; 
picked up and thoughtlessly fingered; then put back for 
you to buy ? Even those packed in cartons are taken 
out to be seen and thumbed ! 

Just contrast that unsanitary handling with the clean 
Owens Staple-tied Tooth Brush ! Each one is sold in 
a sparkling glass container. Every feature of the brush 
may be seen without dangerous exposure or handling. 

Contrast, also, the improved Owens design with any 
other tooth brush made. You'll see why prominent 
dental authorities have declared it the best all-purpose 
tooth brush ever devised ! 

The small brush is trimmed to fit the teeth. Each 
bristle tuft is wedge-shaped — to clean thoroughly in 
every crack and crevice. The large end tuft cleans 
around the usually unreachable back molars. The 
gracefully curved handle makes correct brushing easier. 
The improved Staple-tied process holds every bristle 
tuft securely into the handle by a hidden staple. Han- 
dles come in six different colors, an individual brush for 
each member of your family. 

You cannot get all these improvements in any other 
tooth brush made! Yet the Owens, in the protecting 
glass container, costs you no more than ordinary tooth 
brushes — 30, 40 and 50 cents each, for child's, youth's 
and adult's sizes. See it at your druggist's. 




IMPORTANT. Every Owens Tooth Brush is delivered to the 
customer in n sanitary glass container. This method of packing is the 
most sanitary ever devised for tooth brushes, and the glass container 
is meant to be thrown away when the tooth brush has been removed. 

OWENS 

Staple-tied TOOTH BRUSH 

THE OWENS BOTTLE COMPANY. TOLEDO 



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94 



Photoplay Magazine — Advertising Section 




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Holmes Herbert as the blind man in " The Enchanted Cottage." Look closely 
at the eyes and see what the photographer did 



trimmed with green duvetyne, and wearing a 
white hat with a funny little doo-dad sticking 
up on one side. Immediately the hearts of the 
flustered clerks began to flutter also. 

Pola said she was divorced from Eugene 
Dombska. She gave her age as twenty-seven, 
her weight as 125 pounds, and her height as five 
feet five inches. Her complexion was described 
as "fair," eyes grey and hair black. 

ANNOUNCING the reopening of. the 
Chaplin Matrimonial Sweepstakes comes 
rumor No. 909 linking the name of the famous 
comedian with pretty Thelma Morgan Con- 
verse, one time New York society belle, twin 
sister of Mrs. "Reggie" Vanderbilt, former 
wife of a wealthy New Yorker. Mrs. Converse 
is Hollywood's very latest recruit for film glory, 
and her arrival in Hollywood was simultaneous 
with her engagement to appear in "Cytherea." 

"It is all untrue." 

This is Mrs. Converse's defi to Dame Rumor. 
And she ought to know, for she is the young 
woman who Hollywood has discovered claims 
most of Charlie Chaplin's leisure hours. The 
colony has suddenly found that the comedian, 
in his hours of ease, is very likely to be found 
within camera radius of the attractive New 
York girl. 

HPHE Hollywood sheiks seem to be in for a 
■*■ rough summer. 

First there was a marked "flare" among 
some of the younger girls of the colony for some 
of the boxing heroes of the Hollywood stadium. 

And the sheiks sat back and waited — they 
were sure their time would come when the girls 
passed through the "hero worship" stage and 
once again wanted "real men who could shake 
a wicked pump on the dance floor." 

And, in a degree, they were right. For the 
girls have seemed to tire of their "boxing 
gentlemen." But the sheiks are still waiting. 



Now the "knights of the roaring road" are 
having their inning at the expense of both the 
boxers and the sheiks. 

Agnes Ayres has shown a marked preference 
in recent months for not one but several of the 
boys who tear over the Beverly and Indianap- 
olis speedways. 

And Harry Hartz, who was one of the most 
consistent winners in 1923, is seen even more 
often with Helen Ferguson than is William 
Russell, who for a long time was considered 
engaged to Helen. 

The latest racer to take the winner's flag is 
Harlan Fengler, who is reported to have cut 
Bobbie Agnew out neatly and with dispatch in 
the affections of pretty Shirley Mason. 

PRETTY and talented Dorothy Mackaill 
just simply cannot sleep o' nights because of 
the persistent rumors which are floating around 
Hollywood to the effect that she and George 
O'Brien, son of Chief of* Police O'Brien of San 
Francisco, and a promising young screen actor, 
are engaged to be married. Dorothy admits 
George is a fine, handsome chap, but stren- 
uously denies they are engaged or even 
thinking about it. She says neither one of 
them has ever thought of such a thing as mar- 
riage — at least not to each other — and she 
wishes people would let them alone so that 
they might be good friends, like other girls and 
boys who are not in the spotlight. 

A FTER June 1 Norma Talmadge will be 
•*»■ homeless. 

Rather startling, but true, although Norma 
will have no trouble to find a roof to shelter 
her. 

Her $100,000 mansion in the fashionable 
West Adams district of Los Angeles has been 
sold to Mrs. E. L. Doheney, Sr., and Miss 
Talmadge and her husband, Joseph M 
Schenck, must vacate by the end of May. 



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Photoplay Magazine- Advertising Section 



Mrs. Schenck and her husband recently pur- 
chased an expensive acreage in Benedict 
Canyon, Beverly Hills where they expect to 
start building immediately. Their estate is 
near the magnificent new home of Thomas II. 
Ince and the new building sites of both Harold 
Lloyd and Frances Marion. ' 

The Talmadge home, consisting of more than 
twenty rooms and a half-dozen baths, was 
built by Mrs. Randolph Huntington Minor, a 
so:ial dictator of Los Angeles, who later sold it 
to Roseoe (Fatty) Arbuckle. It was during his 
trial, when he was sadly in need of ready cash, 
that Fatty sold it to Joe Schenck for his wife. 

WHY do some strawberry shortcakes make 
excellent paper weights but exceedingly 
poor food? 

What is the 1 c t method of manicuring one's 
nails? 

How would you start to design a simple 
house-dre ■>? 

These arc just three of the questions which 
one must answer correctly before one 1 - eligil ile 
to become a member of the Hollywood Regular 
Fellows' Club, which meets each week at the 
home of some member. 

The club is composed of a group of embry- 
onic feminine screen luminaries and goes in for 
the serious things of the profession, such as 
looking, manicuring, dressmaking and design- 
ing and the necessity for "giving one's best to 
one's art." 

There are about fifteen members already in 
the organization, among whom are: Duane 
Thompson, Marjorie Bonner, Menifee John- 
■ tone. Virginia Brown Faire, Dorothy Devore, 
Lucille Hutton, Marion Nixon, Priscilla 
Bonner, Maryon Aye, Mary Philbin, Pauline 
Cyley, Grace Gordon and Pauline Garon. 

P RXST LUBITSCH will receive $75,000 for 
■*- ' directing Pola Negri in "The Czarina," 
adapted from Edward Sheldon's play in which 
1 >oris Keane appeared on the etage. Pola 
threatened to hand in her resignation to Para- 
mount unless given her way completely in the 
matter of directors and stories. She insisted 
upon Lubitsch directing her in one picture a 
year. The powers replied that all her pictures 
were making money, so why worry. To which 
Pola retorted. "But how long do you suppose I 
can make you money with bad pictures? " The 
officials have given her full authority. The 
result is the contract with Lubitsch. "He may 
cost them a lot," says Pola, "but he'll earn 
them many times the amount paid." 



95 




He is seventy-nine years old, but 
William II. Crane, playing Commo- 
dore Fairfield in "True as Steel," is 
a belter actor than many a yovnqer one 




The First Step in Beauty 

is more beautiful teeth 



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Film forbids beauty 

You feel on teeth a viscous film. It is 
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That film is clinging. No 
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it becomes discolored, then 
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why teeth lose their beauty. 



Even among careful people, 49 in SO 
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Film also holds food sub- 
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Dental science has now found two ways 
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Many tests have proved these methods 
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Leading dentist- everywhere began to 
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Photoplay Magazine — Advertising Section 



efittk GirlYlappij 

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A CURIOUS tiling happened at the N. V. A. 
■**• benefit given recently in Los Angeles. The 
curtain was raised by mistake, as often hap- 
pens at a benefit, disclosing the scene shifters 
at work. Among them was Fatty Arbuckle in 
overalls, moving a piano off stage. The 
audience, recognizing him, broke into applause, 
whistles, and finally cheers until Fatty, very 
red in the face, advanced to the footlights and 
made a little talk. 

It is not generally known that Arbuckle 
directed Buster Keaton's "Sherlock Holmes, 
Jr." His name as director appears on the 
screen as Will B. Good! Thus adding a comedy 
touch — if you get it. 

T SAW Conrad Nagel posing in various top 
-*- coats on the Goldwyn lot for the fashion 
camera. James Kirkwood stood alongside 
railing bitterly. "What I'd like to know," he 
said, "is how an actor came honestly by so 
many coats." Jim has signed to work with the 
new Metro-Goldwyn-Mayer Company until 
October. Then he says he will go on the stage 
to stay, except for a picture now and then as a 
recess incident. You will recall that he scored 
a hit in Channing Pollock's "The Fool," in 
New York. 

A/T AE MURRAY is scheduled to play "The 
■'•»■*■ Merry Widow" under the direction of Eric 
Von Stroheim. She recently signed a new con- 
tract with Metro by the terms of which she 
comes under the supervision of the company 
instead of heading her own unit under the 
direction of her husband, Bob Leonard. 

HpHERE'S much laughter over a new cult in 
■*• Holly wood, caused by a new and novel type 
of siren. The enchantress is none other than 
Florence Vidor, who receives many in her home 
but favors none particularly. She is known as 
the lady sans reproach, a stickler for the most 
rigid propriety, but that doesn't keep swains 
from worshipping from afar. It is said that 
many a bounder who once used stronger words 
than "gosh" and "darn," now flushes in- 
dignantly when ?, risque story is told and 
refuses to have anything to do with even a 
parrot that swears. All the while Florence sits 
aloof and cool in her court, smiling on all quite 
indifferently. 



JIMMY CRUZE. famous as the director of 
i "The Covered Wagon," became a hero in 
earnest when he probably saved the life of 
his beautiful fiancee, Betty Compson. 

Betty and her mother were spending the 
week-end at the magnificent Cruze home at 
Flintridge, and during the evening Betty 
slipped on an Oriental rug and crashed into an 
open door. The edge of the door, according to 
Jim Cruze, cut a four-inch gash in her head and 
severed an artery. 

Frantically telephoning for the nearest 
doctor, Cruze was told that he must do his best 
to keep the bleeding in check until the doctor 
arrived or results might be serious. So for 
twenty minutes Cruze held the ends of the cut 
artery down with his thumbs and controlled 
the loss of blood sufficiently so that Miss 
Compson only endured a moderate loss of blood 
and the injury did no permanent damage. 
Fortunately the cut was back under the hair, 
so that no scar will show. 

A LICE TERRY spent an afternoon watch- 
■**■ ing Blanche Sweet enact scenes of "Tess of 
the D'Urbervilles" under the direction of 
husband Marshall Neilan. 

"What are you going to do?" Miss Sweet 
asked fair Alice. "I'm all bewildered over the 
reports. First, I hear Mr. Ingram will make 
no more pictures, then I hear you will produce 
abroad, and now I read he may produce in New 
York." 

In reply Alice gave a shrug indicative of 
similar bewilderment. 

"I know," said Miss Sweet sympathetically. 
"I'm married to an Irishman, too." 

JACKIE COOGAN has one more picture to 
make under his Metro contract, and then, 
what? "Long Live the King" was an error in 
that it cost ■ something around $600,000 to 
produce, with Jackie lost in the shadows of 
pompous sets. Now the policy is for smaller 
and simpler pictures, as indicated by "The Boy 
of Flanders" and "Little Robinson Crusoe," 
now in the making. Anyhow, Jackie doesn't 
need to worry. He recently broke ground for a 
new apartment house which he is building in 
Hollywood. It is just one of his many property 
possessions. 




James Howe {no relation to Herbert Howe), Hollywood's only Chinese cameraman. 
He is really Wong Tung Jim, formerly the fit/weight champion of the Pacific 
Coast. Here he is working with Herbert Brenon, who is directing " The Woman 

with Four Faces" 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



VIOLA DAXA, who was receiving around 
$1,500 as a star with Metro, refused to sign 
another contract with the company, preferring 
to be in a position to choose the parts and 
pictures she liked. As a result, she has been 
signed by Lasky to play the choice role op- 
posite Glenn Hunter in "Merton of the 
Movies," directed by James Cruze. And her 
salary numbers some twenty-five hundred 
berries. Following "Merton" she will be 
featured in "Open All Night," the first 
directorial effort of Paul Bern, hitherto a 
scenarioist. 

Viola can well afford to treat herself to good 
parts — at a couple of thousand a week — since 
she owns garages, chicken ranches, rabbit 
farms, houses, bonds and other such trinkets. 

THE business differences between Richard 
Barthelmess and Inspiration Pictures seem 
about to be settled as the July Photoplay goes 
to press. Will Hays has been acting as peace- 
maker in a series of conferences and it seems 
likely that the trouble will be settled to 
Barthelmess' satisfaction. It is said that this 
adjustment will give Barthelmess complete 
authority over his own unit, together with 
certain assurances as to a financial allowance 
for the purchase of stories and so on. 

Barthelmess wants to do the George M. 
Cohan comedy of the vaudeville world, "The 
Song and Dance Man," next. John Robertson 
will continue as his director. Mentioning 
B.irthelmess reminds us that his wife, Mary 
Hay, has been mentioned for the title role in 
Famous Players' forthcoming production of 
"Peter Pan." She is under consideration. 
Gloria Swanson wants to play the role, it is 
said. Anyway, Herbert Brenon is to direct it. 

OF course Hollywood is the very center of 
the wild and woolly West, but just the same 
New York occasionally sends us something 
that gives us quite a thrill. 

The latest is Elaine Hammerstein. Just a 
nice, quiet, New York girl beyond a doubt, but 
she has a war whoop used regularly about the 
Goldwyn lot that puts to shame the best any 
of our well known cowgirls can do. When she 
turned it loose in the cafeteria the other day, 
even such a hardened villain as Walter Long 
choked on his hardtack. 

I wonder how she and her new step-mamma, 
Dorothy Dalton, will get along? 

T^ISCOVERED— one household where the 
-*— ' magic names of Pickford and Fairbanks are 
absolutely without power to thrill and awe. 
According to a despatch from Copenhagen, 
Douglas Fairbanks' press agent informed a 
Danish newspaper that the famous pair were 




Remember Cipriano Castro, who used 
to be more or less prominent when 
president of Venezuela? Well, his 
/laughter is in pictures under the 
un me of Lucila Mender. Here she is 




The dictation she 
dreaded 

E was an interesting man, too — a rapidly advancing young 
executive in the business where she was employed. 

Yet she dreaded taking his letters. There" was something about 
it all that made his dictation a perfect ordeal, and yet it was 
something that she could never have spoken to him about. 
And something, too, that he himself was probably unconscious of. 



H 



You, yourself, rarely know when you 
have halitosis (unpleasant breath). 
That's the insidious thing about it. And 
even your closest friends won't tell you. 

Sometimes, of course, halitosis comes 
Lorn some deep-seated organic disorder 
that requires professional advice. But 
usually — and fortunately — halitosis is 
only a local condition that yields to the 
regular use of l.isterine as a mouth wash 
and gargle. It is an interesting thing 
that this well-known antiseptic that has 
been in use for years for surgical dress- 
ings possesses these unusual properties 
as a breath deodorant. 



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original brown package only — three 
sizes: three ounce, seven ounce and four- 
teen ounce. Buy the large size for 
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Saint Louis, U.S.A. 



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Photoplay Magazine — Advertising Section 




TRUTH 

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ready to visit Denmark if the newspaper could 
arrange an audience for Douglas and Mary 
with the king. The editor rang up the King's 
Chamberlain and asked if this could be done. 
"Who are Pickford and Fairbanks?" asked 
the Chamberlain. When their vocations and 
nationality had been explained the Chamber- 
lain walked off. "Oh, Americans!" he said. 
"All American citizens must apply for an 
audience through the American minister." 

TTOLLYWOOD golfers were alarmed re- 
-*- -*■ cently by a rumor that the order from the 
state health department that closed all the 
public parks for the purpose of checking the 
epidemic of hoof and mouth disease would be 
broadened to include the links as well. 

"They should close the golf links," Conway 
Tearle said seriously when a group of golf bugs 
were discussing the possibility. "Every golfer 
has the disease. They hoof all day and mouth 
about it all night." 

A LYCE MILLS is a very much worried 
■*■ *■ young woman. She has reached a crisis in 
her career and she doesn't know whether to 
give up her motion picture work or go out and 
get — but let Alyce tell it. "I've been reading 
what Barbara La Marr said about an actress 
not being able to act until she had actually 
lived it, and I've just been offered a lovely part 
in a new picture where I'm supposed to be ship- 
wrecked. It's a great chance for me, but I've 
never been shipwrecked!" 

SILVER KING," the horse that gets fan 
letters, has developed Klieg eyes ! It is the 
first time that an animal has been known to 
succumb to the "scourge of the studios," and 
no prima donna ever got more attention than 
this pet horse of Fred Thomson's. It seems 
that Silver King recently began to show signs 
of blindness and Thomson took him to a 
veterinarian, who pronounced it a real case of 
Klieg eyes. The usual treatment of cold cab- 
bage leaves was given him and he was kept in a 



darkened stall for ten days and now they say 
he has entirely recovered from the attack but 
will wear darkened glasses hereafter when not 
actually working. 

MATT MOORE has a new story to add to 
the collection of "drunk" classics. He 
tells of walking into the brilliantly lighted 
lobby of his apartment house one evening and 
finding a gentleman, much the worse for wear, 
crawling about on his hands and knees on the 
marble floor. 

"For Heaven's sake, what are you doing?" 
a.-ked Matt. 

"I jus' losht a dollar out there in the street," 
said the inebriate mournfully. 

"Well, why are you looking for it in here?" 

The seeker looked up with unmistakable 
disgust for such ignorance and replied with 
great dignity: 

"You darn fool, theresh more light in here." 

ANOTHER Hollywood scandal! 
And this time it's Ben Turpin, the young 
chap who holds them with his glittering eye 
on the Sennett lot. The other day while on the 
way to his dressing room, he unintentionally 
opened the door to the one adjoining his. And 
now he's having his eyes cross-examined. 

A /f AY McAVOY says that she never worked 
■'■''■■■with anybody who was more considerate 
than Ernest Torrence. A lesser personage than 
he might have felt a degree of conceit because 
of the attention and praise that has fallen to 
his lot, but Mr. Torrence is just as sweet and 
modest and unassuming as an extra — more so 
than many extras. 

"When a bit of action is about to be shot," 
says May, "he has a habit of turning to the 
people who are working with him. And, 'Is 
there anything I can do? ' he always asks, 
always, 'to make your parts go better? Any- 
thing that I can do to make you feel more 
comforta'de and at ease?' " 

Thi , — in our opinion — is greatness! 



(M-7 1) 




Hollywood's latest way to reduce. Here ice hare Viola Dana atid her sister, 

Shirley Mason, taking their morning exercite on roller skates. Viola declares 

it is great for the figure 



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Photoplay Magazine — Advertising Section 

Favorite Sweethearts of 



99 






the Screen 

[ CONTINUED FROM PAGE 31 ) 

Alice Terry. I have never had the honor of 
playing with Miss Gish but I have had tin- 
great honor of supporting Miss Terry, and I 
can say that not one-tenth of her charm has 
ever been revealed in pictures. 

Miss Terry has aloofness, an appearance of 
inaccessibility, a delicate reticence that charms. 
She is baffling. There are depths which chal- 
lenge your curiosity, yet a delicacy that for- 
bids. I think of what Nietsche says of woman : 
"Man has been arrested before woman with 
one foot already in tragedy! — Is woman about 
to be disenchanted!" 

Her quick wit, her unfailing sense of humor, 
filled every working moment with gayety. And 
her sweetness, her perfection of technique, her 
sincerity of reaction in every scene lifted fiction 
into fine reality. 

The last scene we played together in "The 
Arab," the parting scene for us and for the pic- 
ture, touched me deeply. I rushed away from 
it and sent her flowers in an attempt to e.\pre>s 
my appreciation for all she had done for me. 
Although a finished actress and the wife of Rex 
Ingram — my director, the man who discovered 
me and to whom I owe everything I am as an 
actor — she never once thought of herself in the 
picture. Only the great artist is so generous. 

Norma Talmadge 

By Eugene O'Brien 

Miss Talmadge and I played together in ten 
pictures; they constitute the happiest period of 
my career. Indeed, whenever I play with 
another actress I feel a sort of disloyalty to my 
screen ideal. Miss Talmadge is that. I admire 
her art as an actress and revere her understand- 
ing and loveliness as a woman. 

I've played with a number of talented act- 
resses who were personally most attractive, but 
there's an electric something, a magnetism, 
which Miss Talmadge radiates that draws me 
into the feeling of a scene, and it is this intan- 
gible quality that differentiates her from all 
others. There is, too, her fine understanding of 
emotion. She plays with such exquisite shades. 
As the gentlewoman in "Secrets" she moved 
and looked and thought as just such a woman of 
breeding would. 

Whatever reputation I may have as a roman- 
tic actor is based on my association with Miss 
Talmadge. I think people like our love scenes 
because they feel in them the very qualities 1 
sense in Miss Talmadge, a tenderness, a deli- 
cacy of emotion like fine music, that is neither 
too earthly nor too ethereal but that is simply 
the sincere expression of fine love. 

Corinne Griffith 

By Conway Tearle 

Corinne Griffith is my ideal type of screen 
sweetheart — professionally speaking, under- 
stand, for I am a most happily married man. 

To the type of so-called sophisticated gentle- 
man which seems to be my lot on the screen. 
Miss Griffith would have great appeal. 

To the uninitiated, the budding lover, Miss 
Griffith would perhaps be considered most 
beautiful but cool and unapproachable. He 
would, perhaps, stop and gaze in a sort of wor- 
ship — but would seek a more obvious charmer. 

To the sophisticated however she suggests a 
conquest worthy of new effort, demanding all 
the finesses of the expert. In short, she 
would suggest the type of woman that would 
put the man of the world on his mettle, for he 
would know that once he had been accepted he 
would experience a love all the more sweet be- 
cause of its difficulty in attaining. 

Miss Griffith, I believe, typifies the majority 
of American girls. She has not the Latin spark 
that sets love ablaze — and frequently dies out 




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as suddenly. Once love has come it burns 
through the years. Not ignited into volcanic 
magnitude by a mere glance, hut, when finally 
realized, greater, purer and sweeter than that 
of her more spontaneous sisters. 

Estelle Taylor 

By Antonio Moreno 

Being Spanish may account for my selection 
of a girl of the Spanish type. The fact that 
Miss Taylor and I recently played together in 
a Spanish picture, "Tiger Love, "brought back 
a host of boyhood memories and contributed to 
make an otherwise difficult choice somewhat 
simpler. 

Miss Taylor has all the qualities in a leading 
woman which I could ask. She throws herself 
into the mood of the scene with such natural- 
ness that there is no self-consciousness in play- 
ing it with her. She can pass so exquisitely 
from the real to the imaginary that there is no 
sense of transition. She appeals to the imag- 
ination because she has imagination. Into the 
wild love scenes of our recent picture she 
brought a depth of feeling and an abandon that 
made them real and perfectly natural. 

Sometimes you may wonder why a man ap- 
pears to so much better advantage in one pic- 
ture than in another. It may be the story, it 
may be the director, but it is quite as liable to 
be the leading lady! Just as in any other work 
you need the collaborator who establishes the 
right sort of contact, so in pictures, particularly 
in romantic scenes, you need some one opposite 
you who responds and who inspires you to re- 
spond to the mood of the moment. That is 
why as a screen lover I feel fortunate in having 
met Miss Taylor in "Tiger Love." 

May McAvoy 

By Malcolm McGregor 

Ever since I started on my screen career I 
have wanted to play opposite May McAvoy, 
and William de Mille finally made it possible 
by casting me with her in "The Bedroom 
Window." 

I know that it is one thing to have a fan ideal 
and another to meet that ideal. For once, at 
least, I wasn't disillusioned. 

Miss McAvoyrepresentsthe type that appeals 
to me. I do not feel fascinated by the bizarre 
charmer, the so-called siren. In fact, I am 
attracted by the very antithesis, and Miss 
McAvoy is that. She is natural and sweet and 
elusive. 

Yet she is not haughty or aloof or priggish in 
the least. On the contrary, she is instantly 
friendly. 

There must be something of real feeling even 
in the make-believe, and in playing a suitor to 
Miss McAvoy a man does so with the same re- 
spect and admiration he would do in the real. 

I'm not inclined to flights of poetry, but May 
McAvoy always makes me think of a wild rose. 
She has the freshness, the naturalness and the 
delicacy of beauty. There's no pose, nor arti- 
ficiality, no posturing. And off screen, as on, 
she is always the charming, gracious and ap- 
pealing girl. 

Laura La Plante 

By Reginald Denny 

Laura La Plante comes nearest to my ideal 
of a leading woman. In my work before the 
camera, and on the stage too, I have been 
called upon for the most part to personate 
juvenile characters. If I fall in love it is the 
love of a youth for a maid. I must feel the 
emotions of a youth who has lived a clean, 
wholesome life. I must feel love as a form of 
worship, a love that fills with reverence and joy 
but does not overpower with desire for posses- 
sion nor bring with it any of the emotion that 
"love" interprets to one of jaded experience. 

Miss La Plante played opposite me in 
"Sporting Youth," a story of two modern 
young people with a flair for adventure. Clean- 



living, active young people filled with the joy 
of living, vibrating with the exuberance of 
health, responding almost unthinkingly to that 
immutable law of nature that governs the rela- 
tion of the sexes. 

Miss La Plante is the epitome of such young 
womanhood both on and off the stage. Re- 
quiring little effort to simulate such emotion 
she therefore is ideal, and therefore I accord her 
whatever honor there ma}' be in my preference. 

Bebe Daniels 

By ]ac\ Holt 

Every man carries in his heart his own ideal 
of his real sweetheart. I married mine. 

So, too, every man carries in his thoughts his 
ideal screen sweetheart. 

Mine is Bebe Daniels. 

In the course of my work before the camera I 
have played with most of the feminine stars of 
today. They are all charming, talented and 
delightful. It is never difficult to make screen 
love to any or all of them. 

But Bebe biings to the screen a vivacity, a 
naturalness and a lovely spontaneity which 
made our one appearance together before the 
camera perhaps the most pleasant business 
memory I have. 

From one of her Spanish ancestors Bebe 
Daniels has inherited the fire and sparkle 
which has endeared her to her army of mascu- 
line admirers. There is, too, always that hint 
of naughtiness which once won her the title of 
the screen's "good little bad girl." 

But overshadowing that and dominating all 
is the sweetness which every man demands as 
the dominant characteristic of his sweetheart — 
screen or real. 

Carmelita Geraghty 

By ]ac\ Dempsey 

I'm no one to pose as an authority on lovely 
screen women. 

I may be all right in the prize ring but in the 
presence of a lovely woman I'm out. 

The leading lady to whom I would be most 
grateful is the one who would relieve me most 
of my embarrassment. 

I have had only two, and both of them have 
been charming. I owe them a great deal, be- 
cause they have helped me a great deal in an 
art to which I have made no pretensions, al- 
though I have done my sincere best to qualify. 

My ideal of a woman is so commonplace that 
I guess every other man would say the same 
thing. The qualities that attract me really 
deeply in a girl are the qualities I knew in my 
mother. Tenderness and sweetness and tol- 
erance and unselfishness. 

Three years ago I made a serial called " Dare- 
Devil Jack." Miss Josie Sedgwick was the 
leading lady. She certainly was unselfish and 
patient with me. 

Now I am just finishing the first of a series of 
pictures for Universal in which Carmelita 
Geraghty has the leading role. 

I have profound admiration for Miss Ger- 
aghty. She has charm and naturalness that 
make our romantic scenes much easier than I 
anticipated. As I say, I do not consider myself 
an authority on talent, but I really believe Miss 
Geraghty is going to develop into a star of tre- 
mendous appeal. She has charm, grace and 
unusual beauty — and with the qualities which, 
I think, most men and women demand in their 
idols, the mother qualities. 

Betty Compson 

By Richard Dix 

This is a hard question to answer. I have 
worked with so many charming girls — and hon J 
estly! I have never drawn comparisons. Dur- 
ing the routine of making a picture I've found 
that it requires a lot of give and take. And — 
wow! what a relief is that God-given gift — a 
sense of humor. In respect to that quality I 
nominate Betty Compson! 



Erery advertisement In rnoTOPI.AY MAGAZINE is guaranteed. 



Photoplay Magazine — Adyltuisinu Section 



ioi 



She is unfailingly vital and "alive" and al- 
ways on her tiptoes, so to speak. Her sense of 
humor simply carries one along with her. And 
when the day's work had ended I always hated 
to quit. 

Before each love-scene Betty would call to 
me: 

"Come on, Dixie, let's give another master- 
piece to the world! " 

"Hot Dog! Let's go!" I'd answer. 

And then the scene, scheduled to run fifty 
feet, would run to at least one hundred and 
fifty while the whole staff would bawl: 

"Cut! Cut! Finish! Breakaway. Hey 
there! Stop!" 

Understand me, gentle reader, this was all 
"art for art's sake!" But who is this guy ART 
anyway? I award Betty Compson a promi- 
nent place among America's leading humorists 
including Josh Billings, Mark Twain, Bill 
Rogers, Irvin Cobb, et al.; and that's no laugh- 
ing matter. 

Peaches Jackson 

By Thomas Meighan 

Although I have had many charming leading 
women, it is very easy for me to select my fa- 
vorite among them. The first time I saw her I 
fell in love with her brown eyes and her shining 
hair, and she tells me she fell in love with me 
too. For that reason, we play lovely love 
scenes very easily together. Her name is 
Peaches Jackson and she will be nine years 
old her next birthday. 



Soup Etiquette 

TOM MIX gave a big banquet for the cow 
boys in his company at one of the leadin< 
hotels of Los Angeles and everything was 
done with all the necessary flourishes. Among ; 
other things, consomme was served in cups, j 

One of the cowboys received his with evident 
delight and proceeded to improve it with much ' 
sugar and cream. The cow boy sitting next to 
him gave him a dig in the ribs and said in a 
loud whisper, "Hey, look out. That ain't tea. 
It's soup." 

The first cowboy gave a little start, and then, 
looking at his neighbor with infinite disdain, 
said: "Don't you suppose I know that? I 
always take my soup that way." 



Unwept, Unhonored and 
Unfilmed 

[ CONTINUED FROM PAGE 67 ] 

Sidney Olcott, cut and edited and wrote 
captions (when in the United States) , got up 
a large part of the advertising matter, and, 
with it all, averaged a reel a week. 

"It was work in those days — but creative 
work, blazing the trail. We were always dis- 
covering new possibilities and each little suc- 
cess or surprise fed our enthusiasm. Mr. 
Olcott and I had no one over us. I scarcely 
ever submitted a scenario and never while 
abroad. The Kalem never knew what our pic- 
ture was to be until they saw the first run in the 
projection room. 

"We would have risked our lives (and did 
many times) out of sheer love for, and loyalty 
to, the Kalem. For four years the same friends 
were together and we were known as the 
O'Kalems, and later, during the oriental tour, 
as the El Kalems. Among those remaining so 
long and happily together, besides Mr Olcott 
and myself, were Bob Vignola, J. F. McGowan, 
Jack Clark, Allen Farnham, the technical 
director, George Hollister, the cameraman, and 
Alice Hollister. There were others who came 
and went: Jimmie Vincent, George Melford, 
Kenean Buel, Pat O'Malley and Helen Lind- 



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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



102 



Photoplay Magazine — Advertising Section 



THE GIRL IX THE DIAMOND 




Irene 
Rich 



a screen favorite, star in 

" Lucrttia Lombard," 
'•Ban of Mine," "Beau 
Brnmmel," the queen in 
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Here Are the Stars of Yesterday 



Florence Turner, 3 Randolph Road. 

Maida Vale, W. 9, London, England 
Gene Gauntier, Laboratoriegatan 10, 

Stockholm, Sweden. 
Florence Lawrence, 1938 Argyle 

Avenue, Hollywood, Cal. 
Lottie Briscoe, Hotel Princeton, Wet 

45th Street, New York: 
Dorothy Bernard, 112 Twenty-Third 

St., Elmhurst, L. I. 
Alice Hollister, 1 120 Melrose Avenue, 

Glendale, Cal. 
Marion Leonard, c/o S. E. V. Pictures, 

Inc., 41 East 42nd St., New York. 



Lillian Walker, 150 West 72nd St., 

New York. 
May Hotaling, Hollywood Hotel, 

Hollywood, Cal. 
Edith Storey, Northport, L. I. 
Helen Holmes, 6054 Sunset Blvd., 

Hollywood, Cal. 
Maurice Costello, Pasadena Hotel, 

10 West 61st St., New York. 
Rose Tapley, 644 Springdale Ave., 

East Orange, N. J. 
Louise Glaum, 400 South Catalina St., 

Los Angeles, Cal. 
Marguerite Clark, 50 Central Park 

West, New York. 



roth. It speaks well for Mr. Olcott's tutelage 
that five of the seven actors have risen to 
prominence as directors." 

Miss Gauntier was the star of the first big 
travelling unit sent abroad by Kalem, first to 
Ireland. These pictures made such a success 
that, in 1911, a larger company was sent 
abroad. In order to keep up the home release 
schedule Kenean Buel was made a director and 
Alice Joyce selected as his leading woman. 
Meanwhile the Gauntier-Olcott company was 
busy in Ireland, making "Colleen Bawn," 
" Arra-na-Pogue," in three reels, and a number 
of smaller pictures. They returned to rush off 
to Florida. 

THREE weeks later Mr. Marion summoned 
thecompany back to New York. On Novem- 
ber 25th he asked Miss Gauntier and Mr. 
Olcott if they could sail for Egypt on December 
2nd. "It was a wild scramble," explains Miss 
Gauntier. "We had a picture to finish, pack- 
ing, two weeks in New York to get our ward- 
robe, wigs, clothes, passports, and visit the 
dentist, for we were to be gone at least a year, 
along with farewell dinners. We did it, of 
course." 

The trip culminated in " From the Manger to 
the Cross," made in 4,700 feet. Today, twelve 
years later, this picture is still bringing in good 
returns to Vitagraph, who bought the Kalem 
library. 

"When we had left New York," Miss Gaun- 
tier relates, "Mr. Marion had warned us to 
take no picture with the Christ in it, unless it 
should be a mere symbol, a passing shadow. 
We were soon to be on our way to Palestine. I 
had a touch of sun at Luxor, March is very hot, 
and lay semi-delirious in bed. Alice Hollister 
sat with me. Suddenly I sat up exclaiming, 
'We're going to Cairo and take the Flight into 
Egypt at the Pyramids. Then the life of Christ 
in Palestine!' 

"Sid came in and responded to my enthu- 
siasm. As soon as I could be moved, we went 
down to Cairo, took a number of scenes on 
Palm Sunday, then on to Jerusalem. The old 
city was in such a wonderful state of preserva- 
tion, even the ablahs worn by the natives were 
the same as in Christ's time. Our enthusiasm 
mounted. Sid cabled Marion what we were 
about and that he was returning to London for 
additional actors. Marion cabled he'd meet 
him in London. 

"It was a three weeks' trip and, during 
Olcott's absence, I wrote the script, sets were 
built on a tract of ground hounded by the 
Wall of Jerusalem on one side and a convent, 
the Brides of Christ, on the other, and cos- 
tumes were made by a costumer we had 
brought from Cairo. All was ready to start 
when Olcott arrived with a dozen English ac- 
tors, including R. Henderson Bland, who was 
to be the Chrishts. Helen Lindroth, too, had 
been sent from Jacksonville, Fla., to Jerusalem, 
accomplishing what, I believe, is the longest 
jump on record. 

"Mr. Marion had taken his first trip abroad 
just to shake hands with Sid and wish us good 



luck, taking the next steamer back. It was 
such things that made us so loyal. Marion's 
ability to reverse his decision and see with a 
cleaj: vision spurred us on. 

"A word for our cameraman, George Hollis- 
ter. He had only one wooden camera. The 
intense heat of the desert caused it to crack and 
George would spend his nights in an improvised 
dark room, stopping up the cracks with ad- 
hesive tape. Of all the hundreds of scenes 
taken during those strenuous, stifling months, 
not one had to be retaken. So great was our 
confidence in George that our company was 
brought back to England without having re- 
ceived a report on the last reels of the picture. 
In fact, I took the last two reels back to New 
York with me. They were wonderful photo- 
graphically, for those days. I got out some 
advertising, wrote the scenario in play form in 
order to copyright it, and rejoined the company 
in Ireland in three weeks. That summer we 
did, 'Keery Gow,' 'Shaun Rue' and many 
other Irish dramas, going to Scotland for 'My 
Hiland Lassie' in 1912." 

Soon after came Miss Gauntier's disillusion- 
ment. In December, Mr. Olcott, Mr. Clark 
and Miss Gauntier formed the Gene Gauntier 
Feature Players. This organization continued 
to 1915. "It was the beginning of my revul- 
sion," explains Miss Gauntier. "Perhaps suc- 
cess had gone to my head. Anyway, I was un- 
happy. Conditions had changed so. I went 
with Universal for a short time, when the new 
plant, Universal City, was opened. After being 
master of all I surveyed, I could not work un- 
der the new conditions. Domestic tragedy was 
the finishing touch and I was glad to get out 
while I could still retain some pleasant mem- 
ories of the good old days." 

There is a record, in Kansas City, of a 
divorce granted to Mrs. Genevieve Clark on 
January 30, 1918, from John J. Clark. Mrs. 
Clark was, in reality, Miss Gauntier, and Mr. 
Clark was the leading man of the old time 
O'Kalems and El Kalems. 

MISS GAUNTIER travelled through South 
America and Europe, returning to Kansas 
City to become dramatic and photoplay editor 
of The Kansas City Post. But the wanderlust 
captured Miss Gauntier again. She went 
abroad — and she is still in Europe. From 
Thanksgiving to March she lives with her sis- 
ter at her palace at Laboratoriegatan 10. 
Stockholm; March to June she tours Italy and 
the Riviera and visits Paris; while, from June 
to holiday time she lives on the rockl ound 
western roast of Sweden, on the Islard of 
Arust. Her study has a ten-mile visibility, in 
three directions. In this wind swept studio 
Miss Gauntier plans to complete a book this 
year. "Not a bad life, is it?" she comments. 
"In fact, I think I am wonderfully fortunate. 
And how sweet are rest and relaxation after 
they're earned!" 

My quest for Florence Lawrence led, as I 
have said, to the heart of Hollywood, where the 
former Lubin idol is living at 1938 Argyle 
street Miss Lawrence fell in escaping from a 



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Photoplay Magazine — Advertising Section 



T03 



burning building during the filming of a photo- 
play scene — and then came the long years of 
retirement in forgotten loneliness, not to men- 
tion the many months of suffering and illness. 

"Pictures put me out," Miss Lawrence told 
me, "it is but right that they should bring me 
back. I am not asking for stardom, I will get 
there on my merit- if 1 am given half a chance. 
I have thousands of friendly motion picture 
fans who remember me and I know they would 
like to see me back. Indeed, I still get many 
letters from all oxer the world. 

"It is pretty hard, at the age of thirty-one, 
to be left, forgotten by an industry you helped 
so hard to develop. It is hard to feel that you 
have given the best of your life to motion pic- 
tures — and that they have no place for you." 

Miss Lawrence early made connections with 
the old Vitagraph Company. There her first 
picture was "The Athletic American Girls," in 
which she had to box a young woman with con- 
siderable pugilistic experience. "She had the 
science — but I had been brought up with two 
brothers." explains Miss Lawrence. Her first 
blow smashed the beaded eye lashes of the lady 
fighter, with the result that the black cosmetic 
gave the appearance of a black eye. Miss 
Lawrence thought she had ruined the film but. 
when J. Stuart Blackton stopped cranking the 
camera, she found everyone convulsed with 
laughter — except the boxer. 

AFTER this Vitagraph effort, Miss Law- 
rence alternated between the stage and the 
screen. She was uniformly successful in both 
She had left Vitagraph and was connected with 
Riograph when ill luck touched her for the first 
time. Thinking to better herself. Miss Law- 
rence wrote to Kssanay for a joint contract in- 
cluding her husband (she had secretly married 
Harry Solter). The Essanay officials reported 
the letter back to Biograph — and the Sobers 
were dismissed. 

They found it impossible to get a position 
with any of the licensed companies. This was 
the first instance of blacklisting in filrndom. 
Mi-> Lawrence was about to go on tour in Ezra 
Kendall's Company when Mr. Ranous sent for 
her. Carl Laemmle had organized the Imp 
Company, engaged Mr. Ranous and he wanted 
Miss Lawrence. 

Miss Lawrence became an Imp star and was 
highly successful. In 1910, she made the first 
stellar personal appearance on record, when 
she went to St. Louis to refute a rumor of her 
death. In 191 1 she left the Imp Company for 
a vacation in Europe, returning to join the 
Lubin forces. In 1913 she departed for another 
vacation, this time making a Mediterranean 
tour. 

While she was absent the independents 
banded together and invited her to head their 
company. She came back to be a star of the 
Victor Company and continued, one of the big- 
gest favorites of the screen, until 1915, when 
her tragic injuries occurred during the making 
of a picture. 

Miss Lawrence fought desperately to re- 
cover and, in 1916, came to Universal for one 
picture. But the shock of her injuries had been 
too great and Miss Lawrence collapsed. She 
was totally paralyzed for four months and in- 
capacitated for four years. Much of this time- 
was spent on her farm at Westwood, N. J., 
some fifteen miles from Fort Lee, the scene of 
her many silver screen triumphs. Incidentally 
she never received a cent for her injuries. 

Mr. Solter died in 1920. Subsequently Miss 
Lawrence tried vaudeville and then musical 
comedy, but the goal of a successful return to 
the films was always before her. In 1921 she 
tried a return, in a picture called "The Un- 
foldment." but. through mishandling, the pro- 
duction failed of its purpose. The jinx still had 
Miss Lawrence in its power. 

Miss Lawrence has remarried and has her 
full measure of domestic happiness, but she 
longs for the films again. Why shouldn't she? 
Just thirty-one! Less, indeed, in years than 
most of our successful stars. 

Helen Holme- is still an active player, al- 




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Photoplay Magazine — Advertising Section 



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though she has not missed fomc of the vi( issi- 
tudes which have dogged the steps of the film 
pioneers. She recently played in productions 
of William Desmond and Hoot Gibson at Uni- 
versal and she is planning to launch another 
series of thrillers, with J. P. McGowan direct- 
ing, soon. This, she says, will be "the familiar 
stuff, possibly more dressed up, possibly more 
expensive, but the same hazard and the same 
danger that we went through in days gone by." 
Miss Holmes started her film career just 
after Christmas, 1012, at the old Keystone 
studio in Los Angeles under the direction of 
Mack Sennett. "Mabel Normand was the 
star," explains JMiss Holmes, "and the com- 
pany included the late Fred Mace, Ford Sterl- 
ing, Dot Farley and many others who have 
achieved fame in later years. The working 
title was 'King's Court' and I played a bit as 
one of the court ladies. 

"' I 'HERE was a close-up in the picture of my 

•*■ hand holding something or other and, after 
the cameraman, Walter Wright, had set up to 
take the scene, he called Mr. Sennett's attention 
to i-ome blisters on the palms of my hands. lex- 
plained (I was seventeen at the time), that, be- 
fore leaving our ranch in Death Valley about a 
week before, I had shod two cow ponies and a 
desert canary, as we called a burro. However, 
the blisters didn't go and another pair of hands, 
not used to the hammer or knife, were sub- 
stituted." 

Still, it's an ill wind that blows nobody good. 
Mr. Sennett remembered the blisters and Miss 
Holmes' explanation and, needing a rider in his 
next picture, he called upon the future star. 

In April, 1913, Miss Holmes was introduced 
by Miss Normand to Mr. McGowan, who had 
come from the East to organize a company for 
Kalem. "I started work at Glendale, which 
was then far out of Los Angeles," says Miss 
Holmes. " George Melford was working there, 
Marin Sais, Ruth Roland, Douglas Gerrard, 
James Home and Jane Wolf were on the 
players' pay roll, and, at Santa Monica, 
Mickey Neilan was operating with Pat Harti- 
gan, making the Kalem comedies. 

"We were making two-reelers, features in 
those days, when a second accident changed 
my career. We were held up for a story and I 
wrote a scenario about a girl telegraph oper- 
ator, an idea I had had vaguely in mind for 
some time. It was my first attempt and I was 
dubious, of course. However, we made the 
story and shipped it to New York, waiting 
with fear and trembling for the verdict of the 
home office. At that time we did not develop 
or print anything on the coast. After a picture 
was finished, the entire exposed negative was 
packed in cans and shipped to the laboratory 
on 23rd street in New York. Here it was 
developed and a print made. Along with the 
negative, the director sent his assembling in- 
structions. This was practically a continuity 
of action covering the story. 

"It would run something like this: 

"Scene. 1. Open as Helen enters, Paul Hurst 
comes to f. g. and speaks to her — Hoot Gibson 
enters, turns and beckons Jack Hoxie in — 
Hoxie enters the room, they all stand and talk 
— cut to title as Hoxie speaks — Helen tells 
them all right — they all turn and leave room — 
cut scene as Helen stands at table and tele- 
graphs." 

"This was about the style of continuity. 
Paul Hurst, Hoot Gibson and Jack Hoxie were 
regular members of the company at that time. 

" My first effort was called ' The Girl at the 
Switch.' Imagine my elation when instruc- 
tions came back to make a series ! I was to do 
'The Hazards of Helen.' This series proved 
immensely popular and we worked on them for 
well over a year, making, I think, altogether 
about sixty-five of the series." 

This paved the way for the organization of 
the Signal Film Company, releasing through 
Mutual. Miss Holmes did a number of series 
and serials, including "The Girl and the 
Game," "Lass of the Lumberlands" and "The 
Railroad Raiders." After Mutual dissolved. 



the Signal Company went out of existence and 
Miss Holmes made a serial for the Warner 
Brothers in the East. She has appeared more 
or less regularly on the screen ever since. 

Alice Hollister, who went from a Montreal 
convent to the old Kalem forces, is living at 
1 1 20 Melrose Avenue, Glendale, Cal. Miss 
Hollister lays claim to having been the screen's 
first vamp, even antedating Theda Bara. In 
those pioneer days she starred in "The Vam- 
pire" with Robert Vignola directing. She 
made the trip to the Holy Land for the filming 
of "From the Manger to the Cross" and 
played the role of Alary Magdalene. 

Louise Glaum, since her success at the Ince 
studios and her later appearances in her own 
productions, has been strangely absent from 
filmdom. I found Miss Glaum residing in re- 
tirement at 400 South Catalina Street, Los 
Angeles, Cal. 

The search for Edith Storey, so popular in 
old Vitagraph productions, was even more diffi- 
cult. She was in California until a year ago and 
can now be addressed at her old home, North- 
port, Long Island. Miss Storey has been ab- 
sent from the films for five years. Remember 
her appearances with 'Tony Moreno, partic- 
ularly in "The Isle of Regeneration"? 

Since leaving Lubin, Ormi Hawley has ap- 
peared in vaudeville and she has divided her 
time between New York and her farm ne?r 
Utica, N. Y. Incidentally, she has been inter- 
ested in several motion picture theaters and she 
recently invented a new safety railroad stop 
device which may bring her consideral le 
money. 

Fritzi Ridgeway has been playing for nearly 
a year in Keith vaudeville. She has been pre- 
senting a screen burlesque called "A Wife's 
Honor." 

Gilbert M. ("Broncho Billy") Anderson, 
once plain Max Aronson, had a skyrocket 
career from the old Essanay days, when he pre- 
ceded Bill Hart as the favorite portrayer of 
Western roles. Anderson has been interested 
off and on in motion picture production and he 
made several musical comedy productions on 
Broadway. He was last reported in California. 

Lee Beggs, who once directed John Bunny 
and Flora Finch, is playing small character 
roles in Eastern productions. He was Samuel 
Adams in Griffith's "America" and he has the 
role of another historical character, Benjamin 
Franklin, in Marion Davies' "Janice Mere- 
dith." 

Flora Finch, the popular comedienne of the 
old Vitagraph Company, is still in pictures. 
She plays a small role in Rodolph Valentino's 
production of "Monsieur Beaucaire," and she 
played most of last season in the musical com- 
edy, "Poppy," with W. C. Fields and Madge 
Kennedy, who, by the w r ay, seems to have 
definitely given up pictures for the footlights. 

Lillian Walker, the famed dimpled ingenue 
of the old Vitagraph forces, lives at 150 West 
72nd street, New York. She has not appeared 
in pictures for some little time. 

MAURICE COSTELLO is still an active film 
player. He made several recent appearances 
in Famous Players production and his daughter. 
Dolores, is now on the screen. Mr. Costello 
lives at the Pasadena Hotel, 10 West 61st 
street, New York. 

Another broken career recorded by" themost 
heart breaking game in the world" is that of 
Cleo Madison. Not so long ago Miss Madifon 
was a Universal star. Perhaps you 1 recall how 
she created, in "Black Orchids," the role later 
played by Barbara La Marr when Rex Ingram 
remade his story as "Trifling Women." Miss 
Madison had a complete breakdow-n from over- 
work and she was away from the screen for two 
years. Now she is back, playing mother roles, 
her return to filmdom being made in "The 
Dangerous Age." 

One of the veterans of the screen is Charles 
Ogle, still active with the Famous Players- 
Lasky Company on the coast. " I have been in 
pictures steadily since 1909, with just one 
month off," Mr. Ogle told me. "I believe I 



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Photoplay Magazine — Advertising Section 



105 



have played more parts than any other actor in 
the business." On August 21 of thi> year Mr. 
Ogle will have completed his eighth year with 
the Famous Players-Lasky. 

Mr. Ogle names the original Edison stock 
company a- numbering, besides himself, Laura 
Sawyer, Rolinda Bainbridge, Berrfadine Leist, 
Berbert Prior. William Sorcllc, William West, 
Charles Seay, Charles Sutton and Ed Boulden. 
Mabel Trundle. Mary Fuller and Marc Mac- 
Dermott joined the following year. 

Marguerite Clark is happily married, the 
wife of a wealthy Southerner. H. Palmerson 
Williams. She lives in New Orleans, La., but 
she still receives fan mail at her old address. 
50 Central Park West, New York. 

Rose Tapley, at one time a popular member 
of the Vitagraph Company, is living at 644 
Springdale Avenue, East Orange, N. J. 

THE trail of the past leads through every one 
ofthebigstudiosof today. Sidney ( tlcott.t he 
O'Kalem of yesterday, i- directing Norma 
Talmadge, having just completed Rodolph 
Valentino's ''Monsieur Beaucaire." Robert 
Vignola, another O'Kalem, is making specials 
for Metro-Goldwyn release. Larry Trimble", 
who directed Florence Turner in London, is 
now making the photoplays featuring Strong- 
heart. George Melford, another Kalemite. has 
been directing for Famous Players- Lasky and 
is launching himself as an independent director 

Francis X. Bushman, who began his career 
of early popularity at Essanay in iqn, is now 
in Italy, playing in "Ben-Hur." The produc- 
tion is being directed by Charles Brabin, who 
gained his directorial experience at Edison in 
the early days. Theda Bara (Mrs. Brabin), is 
now in Los Angeles, her return to the screen 
having been postponed, at least temporarily. 

King Baggott, the popular star of the old 
Imp forces, has been directing for Universal 
Harry Beaumont, first an actor at Edison and 
later a director of Essanay and Selig. is direct- 
ing for the Warner Brothers. J. Stuart Black- 
ton, one of the three organizers of Vitagraph. is 
at work at the coast Vitagraph studios. 
Carlyle Blackwell has been making pictures re- 
cently abroad. 

Harry Carey and Henry B. Walthall are 
both active players. Alice Joyce has just gone 
to England to make a picture, having made her 
return to the screen, after her marriage and re- 
tirement, in "The Green Goddess." 

Rapley Holmes, who used to play in Essanay 
pictures, with his wife, Gerta, has been playing 
the role of the South Sea trader in "Rain," on 
the stage in New York for two seasons. 

Raoul Walsh was the director of "The Thief 
of Bagdad." His wife. Miriam Cooper, has not 
appeared in the films for awhile. She was once 
a favorite Griffith-Biographer. Mrs. Linda 
Griffith has not been active in pictures for 
years. She has contributed to magazines on 
motion picture subjects and is living in New 
York. 

James Cruze and Marguerite Snow were re- 
cently divorced. Remember, when they used 
to play at the old Thanhouser studios? Cruzc 
came to the Thanhouser studios after, as he ex- 
presses it, "a histrionic training gained ir 
medicine shows." 

Mae Marsh (Mrs. Louis Leon Arms) has just 
gone to Germany to appear in a screen play. 
She has not appeared in pictures since Griffith's 
"The White Rose." Zena Keefe. who used to 
be an idol at old Vitagraph, appears now and 
then in pictures and lives in Kew Garden-. 
Long Island. Julia Swaync Gordon, another 
Vitagrapher, is still playing in front of the 
camera. Gladys Leslie, one time Vitagraph 
star, has been married for two years and has 
definitely retired to domesticity. She is living 
in New York. 

Louise Huff, the former Lubin star, devotes 
her time entirely to the stage now. Her sister, 
Justina, has been married for some years and 
iive< in Savannah, Ga. Edwin Carewe, another 
former Lubinite. recently completed a picture, 
"A Son of the Sahara," in Paris and has re- 
turned to this country. 




Why will 

so many married women 

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Is it that they are blind — or just indifferent — to the 
secrets of appeal which single girls know so well ? 

Reporting an interview with 350 women in which 
some significant facts were revealed. — by Ruth Miller 



The "eternal triangle"! — A new novel 
had set me thinking about this subject 
when I started out recently to get some 
information from 350 women, single as 
well as married. And I found an unex- 
pected situation — perhaps significant! 

I found that an alarming number of 
"safely married " women are running a 
risk few single girls are taking. 

Attractive women they were — well 
dressed, well coiffed and manicured. Yet 
they were neglecting their most appeal- 
ing charm — were, in attention to it, out- 
numbered 5 to 1 by single girls with their 
"conquests" yet to make. 

A woman's personal daintiness is one 
of her strongest appeals to a man and its 
most deadly enemy is — perspiration! 
You may be fastidiously soap-and-water 
clean and still that repellent odor will 
creep in. 

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Questions and Answers 

[ CONTINUED FROM PAGE 88 ] 



Good Music 

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Brown Eyed Betty, Summit, N. J. — "Old 
Bill" will do as well as any of the other 
variants of "The Answer Man" with which my 
correspondent endow me. You "think I 
have brown hair but not much of it." Wrong, 
Betty. I'm plentifully endowed. Ask my 
barber or beauty specialist. Milton Sills is 
thirty-eight. Married. If you "fell in love 
with him in the only picture you ever saw of 
him" what will be your state when you have 
seen ten? 

Inez, New Zealand. — Do motion pictures 
brighten your life on the island amid the 
tumbling waves of the Pacific, Inez? They 
must, else you would not have the deep 
interest and vast knowledge of them your 
letter shows. Marguerite de la Motte and Pat 
O'Malley were in the photoplay, "Wandering 
Daughters." Allan Forrest played opposite 
Shirley Mason in "Lights of the Desert." Yes, 
Olive (Smith) Thomas was the first Mrs. Jack 
Pickford. 

I. M. B., Red Bank, N. J — Charmed. The 
actor who plays John Millet in Charles Chap- 
lin's production, "The Woman of Paris." is 
Carl Miller. 

C. B. E., Oakland, Calif. — You like to 
think that I am "in looks a double of Cullen 
Landis." I'm afraid Mr. Landis wouldn't. 
But dream on, sweet one. Mr. Landis' age 
is twenty-eight. Recent appearances of his 
have been in "The Fog." "Pioneer Trails" 
"The Alibi," and "The Fighting Coward." 

Frances, Estes Park, Colo. — You no 
longer judge persons by the books they read, 
nor by their friends, but by their motion 
picture favorites. You are willing to be 
judged by yours. Norma Talmadge, Pauline 
Frederick, Lillian Gish, Nazimova and Pola 
Negri are the actresses and John Barrymore, 
Charlie Chaplin, Lon Chaney, Ernst Lubitsch, 
and Guy Bates Post are your favorite actors. 
Now what do I think of you? I think you are 
an intelligent, self-reliant young woman. You 
prove it when you say you think Charles 
Chaplin a great artist and that you go to all 
his pictures not to laugh but to cry. Righto. 
Do your own thinking and feeling too, Frances. 

Eleanor, Newark, N. J. — I don't mind 
your calling me "Daddy" if you like it. 
Makes me feel important. For, — come close, 
Eleanor, while I whisper, — I never have been 
one. Lloyd Hughes is a healthy specimen, 
six feet tall, weighing one hundred fifty 
pounds. His age is twenty-six years. He is 
married. 

L. V. A., Brooklyn, N. Y.— All right, Lloyd. 
Your favorite actress was born in Port Huron, 
Mich., August 19, 1900. Colleen Moore was 
educated in a convent in Florida. Her height 
is five feet, three inches and her weight one 
hundred pounds. A chance meeting with a 
producer brought about her engagement in 
pictures. She has been in the photodrama for 
five years. Her maiden name was Kathleen 
Morrison. She was married last August to 
John Emmett McCormick. Recent pictures in 
which she appeared are "The Huntress," 
"Flaming Youth" and "Painted People." 

Cherry, Athens, Tex. — A toothsome 
name. Eugene O'Brien has not a brother who 
plays in Marshall Neilan productions, but 
himself, plays in "Secrets," with Norma 
Talmadge. Ramon Novarro changed his 
family name, Gil Samanyiegos, for the screen 
because he feared the public found it un- 
pronounceable. But he did not go out of the 
family, for he uses his mother's name, Novarro. 
He spent part of the winter in Tunis. Not, 
however, in idleness. See his new^ picture, " The 
Arab." 



Kathryn, Northampton, Mass. — You saw 
Richard Dix in "The Christian" and you ad- 
mire him. He is twenty-nine years old. He 
is a native of Minnesota and attended the 
University of Minnesota. He is not married. 

R. H., Cedar Falls, Ia. — A cure for the 
blues is that round, jolly little face in that 
snapshot pasted at the top of your letter. 
I hope that life will never cause that smile to 
fade. Don't let it. Perhaps my esteemed con- 
frere, Carolyn Van Wyck, will tell you how to 
modify a pronounced pug nose. My advice is 
to call the feature retrousse and let it go at that. 

Missouri Matron, Joplin, Mo. — Do I 
"think it is wrong for a married woman, the 
mother of two lovely children, to admire the 
handsome men in the movies?" I do not. 
Especially since you say you would be glad if 
your two little sons would ever "become as 
manly and successful." Your favorite actor, 
J. Warren Kerrigan, was born in Louisville, 
Ky., July 25, 1889. He has black hair and 
hazel eyes. His height is five feet, eleven 
inches, his weight one hundred ninety-five 
pounds. 

M. LeR., Minneapolis, Minn. — "You bet 
that I am a girl." What stakes do you offer? 
Norma Talmadge was born May 2, 1895, 
Constance Talmadge April 19, 1900. Count 
the months and years. Mental arithmetic is 
good exercise for the brain, Mauvette. 

Ima Fan, Detroit, Mich. — What an in- 
ventive young person. That nom de plume is 
an inspiration. So was your salutation, "Dear 
Sir or Madame or Otherwise." You have in- 
vented a novel name for unattached women, 
"Otherwises." Wonder if they will like it? 
Mary Astor's age is nineteen, her height five 
feet, five inches, her weight one hundred and 
twenty pounds. Most important to you, you 
say, is whether she is married. Breathe freely 
once more No man has led her to the altar. 

Jackie, Peterboro, Ont. — You want to 
know "all about Buck Jones." What an 
order! Well, he was born at Vincennes, Ind. 
His eyes are gray, his hair brown. His com- 
plexion must be guessed — I guess it medium. 
His height is five feet, eleven inches. He was 
thirty years old when he began his career as a 
screen actor at Los Angeles. That was five 
years ago. He is married. 

Queen Sophie, San Francisco, Cal. — 
When was Your Majesty crowned, and where? 
I don't recall the ceremony. Percy Marmont 
would be as proud if he knew all you said about 
him. He was born in London, England. He 
was on the stage in London and New York. 
He is six feet tall and weighs one hundred and 
fifty pounds. ■ English slimness. His eyes are 
blue gray and his* hair blond. Like many of 
his countrymen, he is an athlete. His age is 
approximately thirty-five years. I had not 
noticed that Margaret Livingston's type is 
reminiscent of Marguerite Clark. Miss 
Livingston was born in Sail Lake City, Utah, 
and was educated there. She has had five 
years of screen experience. 

E. D. D., Raymondsville, Tex. Enid 
Bennett is twenty-eight. She is the wife of 
Fred Niblo, the director. Jobyna Ralston is 
nineteen. Myrtle Stedman is a blonde. She 
is thirty-five. Like blondes, E. D. D.? 

Betty, Montgomery, Ala. — Let not your 
heart be troubled, Betty. Gloria Swanson's 
hair is neither black nor red, but brown Yes, 
she is beautiful in any light or at any angle. 
It is usual to send a quarter with each request 
for a star's photograph. The number of re- 
quests is enormous and even wealthy motion 
picture stars dread poverty in old age. 
[ continued on page 135 ] 



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Photoplay Magazine — Advertising Section 



107 



Jack Holt, Regular He-Man 

[continued from page 58] 



a ( igarette from a property-man. But the 

twinkle in his eyes was somewhat insinuating. 

"Oh, I have a long way to go as an actor," 
he said modestly, as he resumed his position 
on Miss Dalton's throne. "Take 'The Marriage 
Maker.' I was terrible in that." 

"Suppose William de Mille learns that you 
said that." 

"He knew it. I like to play heavies as I 
used to. But there's more money in being a 
hero. A hero gets all the money and all the 
sympathy. And a villain work> just as hard." 

"Work! You mention work!" (Every- 
where in the studio, there were examples of 
inspired inactivity.) 

"In just a minute you'll see how hard f 
work. We're having a big fight." 

With this, Mr. Holt was called away to con- 
fer on the details of it. 

"Now you bang each other's heads against 
the bookcase, but be careful not to shake the 
scene," instructed the director. And Jack 
Holt and the villainous Apache complied with 
such artistic tire that the banging produced a 
•■light tremor in the walls of the counterfeit 
apartment, and the scene had to be retaken. 
The second result was perfection. Mr. Holt 
laid waste the rascal with the sure touch of 
genius. He was not only the hero, but 
getting the most money, and the highest-paid 
actors always live to work in the last foot of 
film. 

"I like to play what is known as 'heavy- 
leads'," confessed Mr. Holt, when I asked him 
how comfortably this recent nobility rested 
upon the top of a career founded upon the roles 
of rogues. "An actor must have a good story 
if he is to do good characterization. A bad 
story can spoil anyone's work. Still, some 
of the best and most popular actors are con- 



sistently buried in weak material. Directing 
interest-, me a lot. When I've done all I want 
to do as an actor, my ambition might include 
it." 

"What do you want to do as an actor?" 

"I would like to be as popular as Thomas 
Meighan, for instance." 

"That's your professional ambition. Have 
you an unprofessional one?" 

"To get back to California and my polo." 

"Polo is known as 1 In- 'gentlemen's game.' 
With whom do you play in Hollywood?" 

"That has all the earmarks of a dirts- 
crack. Do you think there are no gentlemen 
in the picture business?" 

"We know there are. Y'ou, for instance, 
are known the width of the land as one. Even 
the dulled sensibilities of the most com 
pletely submerged tenth recognize in you the 
very embodiment of the title 'a perfect gent'." 

Mr. Holt laughed and borrowed another 
cigarette from another property-man with a 
democratic grace only an authentic thorough- 
bred could accomplish, It was the real tot. 
The congenital roughneck would have been 
pally. The pseudo-gentleman would have 
been patronizing. Jack Holt was neither. 

"Wonderful fellow, a real he-man," com- 
mented his cigarette-creditor, as he went back 
on the set. 

"Isn't he charming?" said beautiful Lucy 
Fox, taking the chair he had vacated. 

And I wondered whether that was the word 
for him. 

"I'm sick of beautiful women," he had 
said to me. 

"Aren't you sick of wonderful movie- 
heroes?" I asked the sweet little actress. 

"I should say so," she answered. "But 
Jack Holt isn't that kind. He's a gentleman. 
A real he-man." 




Screen Title: "This dreadful silence! What would I 
not give J or the sound of a human voice." — From Punch. 




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Photoplay Magazine — Advertising Section 



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■ 111 



The Story Without a Name 

[ CONTINUED FROM PAGE 36 ] 



v^ojiJi 



and forth, Don with an old refracting-mirror 
and Ruth with a new milk pan. Then the 
sustained opposition of Samuel Carter had 
prompted Don to work out a diminutive re- 
ceiving set in the form of a sewing basket with 
a false bottom. And Ruth Carter had become 
deeply attached to her new sewing basket. 
While she sat, demurely darning her father's 
socks or as innocently patching his denim 
overalls, Don Powell could send down to her 
his low-powered but ardent little love messages. 
These anonymous love messages, it is true, 
puzzled many a neighboring radio fan, but to 
the demure-eyed girl so engrossed in her sewing 
they brought esstatic little thrills of delight. 
Old Sam, indeed, coming in one day to refill 
his water jug, was arrested by Ruth's sudden 
laughter and convulsive movements of joy as 
she shifted the secret tuning-dial and a familiar 
voice said: "I love you, love you, love you, 
moon of my deligh t ! " 

Old Sam shook his head, thoughtfully, half- 
persuaded his girl was a bit weak in the upper 
story. "Ruth ain't like the rest of us Car- 
ters," he said with the utmost conviction. 

SO Don, watching his minute-hand approach 
the appointed moment, leaned closer to his 
diminutive transmitter and said : "I love you, 
Sweetie, more than lips can say." Then he 
sighed as he added: "I love you, Cutey, but 
I can't tell it this way again. For my chief 
has finished up his work. And before tomor- 
row we'll be gone!" 

Just beyond the club house a cripple carry- 
ing a crutch toyed with a metal button cun- 
ningly set in the camouflaged frame beneath 
his arm-pit. He pressed a watch-case receiver 
close to his ear, studied what promised to be 
a perfect sunset, and hobbled past the club 
house porch. As he passed a dark -eyed 
woman sitting there he muttered a word or 
two in a foreign tongue, and a moment later 
Claire Lacasse, excusing herself from the circle 
of youths about her, slipped into the telephone 
1 ,00th and spoke a sentence or two, also in a 
foreign tongue, over the wire. 

Beside a stream, a mile beyond Smithers 
Mill, a lone fisherman was acting in an equally 
enigmatic manner. As he sat on the bank, 
apparently angling for a bite while he placidly 
moved his pole up and down, his mind was not 
as indolent as his body might imply. For his 
thoughts were not altogether on the finny 
tribe as he so abstractedly worked at his reel. 
Instead of angling for trout, in fact, he was 
angling for a wave-length which, as it sped 
through the ether, was eluding his oddly 
fashioned aerial. But along that aerial he 
was suddenly conscious of the ghostly electric 
nibble. He leaned lazily back on one hand, 
pressing closer to his ear as he did so the head- 
set concealed under his tilted hat-brim. . . . 
"Can't tell it this way again. For my chief 
has finished up his work. And before tomorrow 
well be gone!" 

The lone fisherman quietly drew in his line, 
disconnected his rod, and stowed it away in 
his case. Then, looking carefully about, he 
skirted an orchard, crossed a hill, cut through 
a stretch of underbrush, and spoke into a field 
transmitter hidden in the midst of a denser 
clump of alders. Having done so, he dragged 
in an armful of trailing wire, buried the coil 
and the transmitter under a layer of loose soil, 
and peered carefully about to make sure his 
movements had remained unobserved. And 
as he stared towards the distant tower, vaguely 
discernible beyond the rising valley-slope, he 
muttered with a sinister smile: "Before to- 
morrow you'll be gone, all right!" 

CHAPTER TWO 

Alan Holt's face remained clouded as he 
hung up the receiver of the private wire that 
connected his with Washington. He resented 
the coolly skeptical tone of the Assistant- 
Secretarv's chief clerk who had remained so 



coolly unconcerned regarding the completion 
of the triangulator experiments. The news 
would be conveyed to the Secretary on his 
return to the Department. But it was Holt's 
duty to report at once and in person to the 
proper Department officials. A former model, 
he was reminded, had failed to reach those 
officials. And it would be absurd to pass on 
his request for the use of Navy vessels, of 
course, until the officials were convinced of the 
efficacy of this new radio apparatus. Admiral 
Walsworth, in fact, had asked the Board to 
defer all action until the earlier misadventure 
had been fathomed. 

. Alan still stood tight-lipped and narrow-eyed 
beside his litter of tubes and cells and coils 
when he heard a girlish voice call out from 
below. "May I come up?" this girlish voice 
inquired. 

His face remained hard, though a quick 
tingle sped through his tired body. For even 
before he leaned over the tower-rail he knew 
that voice to be Mary Walsworth's. And his 
heart was bitter, at the moment, against the 
name of Walsworth. 

"Of course," he said, his effort at self- 
control making his voice tremulous. Yet as 
he opened the door and saw the slender figure 
and the peach-blow face with the ardent eyes 
his own eyes lost a little of their sombreness. 

"I'd rather father didn't know," she said, 
a little out of breath as she glanced about at 
the inscrutable instruments of which she had 
always stood so vaguely yet so stubbornly 
jealous. 

"I'm sorry he's ashamed of me," was Alan's 
retort. And his tone brought her quick eyes 
up to his face. 

"Oh, Alan, it's not that," cried the distressed 
girl. "He doesn't know you as I do. But 
he's a Walsworth. And he can't seem to 
forget that you once worked in a garage." 

"Well, I'll work on the War Board before 
I'm through," said Alan with his curt laugh. 
"And that may wash some of the garage 
grease off my record !" 

"But we're all proud of your record," the 
other reminded him. "I've every article they 
printed about you when you worked out your 
radio plane-director last year just as I've every 
letter you ever wrote to me as a school-girl 
from the Marconi of the newer decade I sat 
beside your dear old mother and watched the 
tears of joy run down her cheeks. Even my 
own eyes were wet. And surely that means 
something, Alan." 

She turned away for a moment, as though 
ashamed of her emotion. Her head was still 
averted as Alan stepped to her side, a mount- 
ing look of tenderness eclipsing the moroseness 
in his eyes. Yet he found it hard to speak as 
he reached for the hand that hung white at 
Mary's side. 

"I really came with a message from your 
mother," said the girl as her eyes clung to 
Alan's face. "She wants to see you, Alan, 
before you go back, and she asked me — " 

THEY were interrupted by Don Powell's call 
l __from the stair-landing and Mary's hand 
dropped from Alan's as the younger man 
swung in through the door. 

"There's something to that hunch of yours 
about Hyde," was his breathless comment. 
"I caught the beggar releasing a carrier pigeon 
just beyond the second tower. He swears it 
was only a hurt bird that fell in the enclosure. 
But I don't like the looks of things!" 

"No more do I," said the older man with 
a quick glance over his tower-rail. "And 
I'd rather like to get Admiral Walsworth up 
here at once." 

It was Don alone who smiled at Mary's 
gesture. 

"He's back at the club house drinking tea 
with the Countess." 

"Then he's picked a poor partner," snapped 
the tired-eyed operator. 



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"Why do you say that about a friend of 
ours?" asked Mary, her color a trifle higher. 

"Because when I was a convalescent at 
Cannes I spotted an international gambler who 
was making a half-million francs a month out 
of an electrically controlled roulette-wheel. 
He used a startling attractive young woman 
as a silent partner — and I have a very good 
memory!" 

Mary was about to speak, but she "stopped 
short the sound of two muffled reports across 
the twilight hills. 

"What are those signal shots?" demanded 
Alan as he caught up the binoculars. "And 
why isn't Hyde stopping that closed car 
there at the field-gate?" He swung about to 
his assistant without waiting for an answer. 
"Go to your tower, as quick as you can. and 
bring back what you need." Then, still tense 
with an excitement that seemed mysterious 
to the watching girl, he drew his triangulator- 
case to one side of the littered floor anc 
kneeled beside it as he packed away his appa- 
ratus. 

"I believe you love that more than you do 
anything else in the world," protested Mary 
as she reached a hand out to his shoulder. 

HE looked up quickly at her touch, but he 
remained on his knees beside his model as 
he fitted it delicately yet deftly into its case. 

"And when you're through with this, Alan," 
continued the quiet-eyed girl, "there's one 
thing I wish you'd make. I wish you'd make 
some sort of love amplifier so that people who 
care for you can make themselves heard when 
they want to.be heard!" 

He stopped at that, with a look of con- 
trition in his eyes. 

"Nothing is stronger than love," he said, 
trying to speak steadily. "But in some way, 
Mary, this is different. This stands for sendee, 
service to my country. I couldn't quite ex- 
plain it to you, but the nation that owns what 
I'm packing away in this carrying case is the 
nation that is going to win the next war, that 
is going to be mistress of the world. It 
doesn't look very big, but it can save our 
cities from destruction and our fleets from 
going down. It's something I'm giving to my 
country. And until it's safe in the Depart- 
ment's keeping I don't think I'll ever draw a 
free breath." 

"But what is it you're afraid of?" asked the 
intent-eyed girl. 

"I wish I could answer that," was the 
other's quick response. "But I can't. And 
that's where the trouble lies. Only, I feel like 
a field-mouse with a black-snake coiled over 
its grass nest. There's something going to 
strike, but I can't tell when and how. Yet 
it's not the loss of the model that worries me 
I hold the secret of that right here in my own 
head. And I could make a hundred more, 
whenever the need arrives. But if this," 
continued the stooping man, tapping the case 
between his knees, "fell into the hands of our 
enemies, if some foreign agent or spy got 
possession of it, as it stands, that enemy 
would haveour secret!" 

"But what should we do, if anything did 
happen?" asked the girl, her face a trifle paler 
in the waning light. 

"The one thing I'd ask," said Alan as he 
rose to his feet, "if anything should happen to 
me, would be to have this model destroyed 
where it stood, I'd rather see it all smashed 
to smithereens, before an enemy could get a 
hand on it. 

He stopped short at the ringing of a phone- 
bell, frowning as he held the receiver to his ear 
and got no answer to his call. From below 
the tower somewhere a motor-horn barked 
through the twilight. And the frown deepened 
on Alan's face as he turned back to Mary, 
startled by the sudden cry from her lips. In 
her staring eyes he saw a look of fear touched 
with wonder. Wheeling about and following 
the line of her vision, he saw a flare of flames 
surmounted by a billowing drift of smoke. 

"That's our auxiliary tower on fire!'' lie 
gasped. " It's doomed, every timber of it!" 



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"There's Don and another man running 
towards it," cried the trembling girl at the 
railing. "And there are other men under the 
tower here. Oh, Alan, what does it mean?" 

Instead of answering her, at the moment, 
Alan dodged into his cramped generator-room. 
When he returned he was hurriedly buckling 
a holstered army revolver about his waist. 

"It means that fire was set to draw us from 
this tower to the auxiliary one," he cried as he 
crossed to the door and turned the key in the 
lock. "And it also means that I'm about to 
have some visitors here !" 

"But what can they do?" asked the girl, still 
further disturbed by the sternness of his 
face. 

"That's what I've got to find out," was his 
hurried retort. "And there's a chance it 
may not be pleasant. So I don't want you 
to be seen here. Get back in that generator- 
room of mine. And stay there until I come 
for you." 

"But if you're in danger, Alan?" she said, 
with a valorous tightening of the lips. 

"Quick!" he commanded, looking sharply 
about at the familiar drone of a seaplane as it 
circled and settled down somewhere along the 
valley of the Potomac, beyond the drifting 
tower of smoke. 

A knock sounded on the tower door, but he 
did not answer it. Instead, he stooped and 
snatched the enfilading key from the core of his 
triangulator, crushing a row of cigarettes as he 
forced shut his chased silver cigarette-case on 
the delicate instrument no thicker than a 
prayer-book and thrusting it deep into an 
inner pocket. Then he snapped down the 
case-cover and was about to lift the triangu- 
lator itself, apparently, to some sheltering 
corner of the tower. But before he could do 
this the locked door was shouldered abruptly 
back and two heavy figures strode in. 

As they did so, Alan, narrow-eyed and 
and watchful, stepped slowly away until his 
back was against the tower rail. 

"How dare you violate government terri- 
tory?" he challenged, his hand at his belt. 

"How dare you lock out government 
agents?" the older of the two intruders chal- 
lenged back. "We're here on business — to 
take you to Washington at once." 

"On whose instructions?" asked Alan, 
inching forward until he once more stood over 
his triangulator. 

"Here's our order from the Secretary him- 
self," retorted the other, producing the docu- 
ment in question. 

"That order does not agree with the De- 
partment's wired instructions," asserted the 
tight-jawed man confronting them. 

"Well, they're orders, and they're official, 
and they're going to be obeyed," cried the 
thicker-bodied man in the background as 
he kicked aside a tangle of insulated wire. 

THE girl crouching in her narrow quarters 
was never quite certain as to just how it act- 
ually started. But at the same moment that 
Alan Holt flung out the claim that his captors 
had nothing to do with his Department or any 
other Department the heavier man reached 
for an automatic pistol and Alan himself 
whipped out his service revolver. But as he 
fired his arm was knocked aside by the second 
intruder and before he could recover himself 
a blow on the head sent Alan reeling back 
against the tower-ledge. There he grappled 
with his assailant, fighting to reach the fallen 
revolver that lay just beyond his reach. 

It was then that Mary Walsworth emerged 
from her hiding place. She appeared in time 
to see the heavier man bring the metal grip 
of his automatic down on Alan's blood- 
stained head, striking cruelly, until the stunned 
figure relaxed on the acid-stained floor. She 
saw the second man promptly gather Alan up 
in his arms and carry him down the stairway, 
his hands trailing limp and a small runnel of 
blood trickling from his temple as he went. 
She saw her remaining enemy stand in the open 
doorway, his pistol still in his hand as he 
called his orders down after his confederate. 



And she saw Alan's triangulator, standing 
there in its case, within ten paces of the 
criminal who would so soon possess it. 

Mary came of fighting stock, and, if she 
hesitated, it was only for a moment. Stooping 
low, she hurled her slender young body against 
the heavier body at the stair-head, crying 
aloud as she saw that startled figure go 
tumbling down the twisted steps. Then she 
swung shut the broken door, tilted over a 
work-table, and braced it against the one 
barrier that stood between her and her enemies. 
Panting from her efforts, she listened for a 
moment as she heard the sound of voices 
below. She heard a car engine race and stop 
and start again, a repeated low whistle 
answered by a second whistle farther down 
the hillside, a mounting trample of feet as 
still other enemies swarmed up towards her 
flimsily barred retreat. 

VX THEN she heard their blows on the crack- 
** ling wood she no longer knew hesitation or 
fear. She glanced hurriedly about and ran to 
where a red fire-axe hung beside an extinguisher- 
cylinder. She snatched down the axe and, 
poising it above her head, turned back to where 
the triangulator stood. Then, with her jaw 
clenched tight, she brought the heavy metal 
axe-head down on the fragile machinery so 
delicately housed in its container. She brought 
it down again and again, until the complicated 
instrument lay an unintelligible and tangled 
mass of metal. And she was still crushing the 
scattered contents of the case when the door 
fell away and a swarthy-faced man of middle 
age rushed in and seized her by the wrist. 

Then he stood in his tracks, with his gorilla- 
like breast pumping for breath, as he studied 
what the failing light revealed to him. 

"Don't kill her, you fool!" he suddenly 
barked at one of his followers who had drawn 
a revolver as the struggling girl for the second 
time struck at her captor. And Mary Wals- 
worth, even in that moment of stress, knew it 
was Mark Drakma speaking, Drakma, the 
man mystery who floated so luxuriously and 
yet so inexplicably about the fringes of Wash- 
ington life and trailed a wake of conflicting 
rumors after him. 

Yet it surprised her to hear him laugh, 
though it was a laugh without mirth. 

"We may have lost our fish," he said with 
a forced smile, "but we can at least carry the 
bait along with us!" 

He stood silently, deep in thought as he 
stooped and picked up a broken dial-indicator. 

"We must regard you, madame, as quite a 
heroine," he said with mock gallantry. "You 
have worked well. But you will work much 
harder, before we are through with you, to 
repair what you have just done!" 

Mary, staring in the heavy face with its 
ominous flash of white teeth, made an effort 
to answer him. She tried to tell him that Alan 
Holt was still alive and while he lived would 
always look for her and protect her. But the 
words were cut off by a gross hand clamped 
over her mouth as she was caught up and car- 
ried hurriedly down to the closed car that 
stood waiting beside the tower-base. As she 
was thrust into this car and held and trussed 
there while they swerved away in a cloud of 
dust, her distracted eyes caught sight of a 
seaplane as it rose above the hills to the west, 
mounting like an eagle and moving in widen- 
ing circles that spiralled higher and higher 
until the land flattened out and the broken 
line of the sea coast showed hazy. Then it 
took up its course, heading away from the 
darkening hills straight for the open Atlantic. 

It hummed on its way, carrying a blood- 
stained captive in its cock-pit, who opened 
his eyes in bewilderment, at last, and lay back 
listening to the familiar drone of the engines 
and the whine of the wind through the plane- 
struts. He tried to put a hand up to his throb- 
bing brow, only to find them pinioned close to 
his side. And he realized that he was being 
carried away, helpless and outwitted, from 
everything that had made life worth living. 

[ TO BE CONTINUED 1 



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A Real "Merton of the 



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[ CONTINUED FROM PAGE 76 ] 

me with that vivid and wistful charm above 
his teacup, "I expect I have played in more 
mobs than anybody in the world unless it's 
Charlie the elephant, and he's dead now. 

"It was pretty tough, breaking into pic- 
tures," he admitted, plaintively, "and espe- 
cially so for me, because I had picked out a 
niche for myself and it was some climb. I'd 
played in stock at home, of course. .Most of 
us do, you know. And I'd seen pictures. I 
was quite a picture fan, and ioo per cent a 
Mary Pickford fan. I made up my mind that 
I'd play in a picture with Mary Pickford. 
That ambition, a railroad ticket and a very 
few dollars landed me in Hollywood. 

"I used up the ticket on the way and, a week 
after I arrived, I had only the ambition left. 
So I did what many better men have done — 
joined the mob. As we used to say back in 
Pendleton — 'Them was the days.' Three dol- 
lars a day— when you worked. And that 
wasn't any too often. Eating and sleeping 
came by luck. Once in a while I'd get a job 
where a director with a realism complex would 
insist on serving real food at a banquet scene. 
I could stoke up enough for a couple of days 
and, if I was lucky, could carry away enough 
food for a day or two more. I appreciate how 
Merlon felt. I didn't pray to be a good movie 
actor, but I came pretty near praying for a 
part in a Mary Pickford production." 

"DIT by bit, he got one small part after 
-'-'another. There is no doubt about George's 
ability as an actor, and he made quite a reputa- 
tion for himself. That the reputation was 
justified is proven by his work in "Merry-Go- 
Round" and "Human Wreckage." 

"But it was slow work," he says. "Then, 
one day, came a call from the Mary Pickford 
studios. My dream was out. I dropped 
everything and ran. Miss Pickford was in the 
casting director's office. She looked at me, 
murmured 'not the type' and I walked out. 
Right at that minute, as Octavus Cohen says, 
suicide was the one thing I couldn't think of 
nothing else but. Well, I didn't commit 
suicide, as you can see, and I did finally play 
with Mary Pickford in ' Amarilly of Clothesline 
Alley,' so I suppose I ought to be contented." 

Mr. Hackathorne never was a director's dis- 
covery, like so many of the younger stars. 
"Though goodness knows," he said, with his 
swift, appealing smile, "I tried hard enough to 
get Mr. Griffith to discover. I worshipped 
his work so much and I — I was conceited 
enough to have the idea that I was the type he 
found it most satisfactory to work with. I— I 
hung around him and followed him for days, 
until I expect he thought I was a gunman or 
something." 

He isn't married and he lives in a charming 
sort of "bachelor diggings" and is so well taken 
care of by a Chinese houseboy that he probably 
doesn't miss a wife to put on his button and 
darn his socks. 

He needn't worry. Somebody will. In 
fact he's an awful temptation, even to a mar- 
ried woman like me. He's so helpless — he 
really should have somebody to look after him. 
He's always late to everything, I discovered, 
and if it weren't for that helpless and charming 
way he has of making apologies I'm sure 
hostesses would write him off their lists. He's 
always being in automobile smash-ups, and 
putting his money into fake oil wells. And in 
spite of his scrupulous neatness I'm sure if it 
weren't for the Chinese boy he'd be quite 
capable of not matching his socks. 

Oh, he must be a terrible temptation to 
thousands of efficient young women. 

And he's the only actor who ever received 
two of Photoplay's six best screen perform- 
ances of the month at the same time. He says 
he's prouder of that than anything else that's 
happened to him in his whole life so far. 




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I I 2 



Photoplay Magazine — Advertising Section 




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FRIENDLY 
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From 
Carolyn ^Van JVyck 



G. E. D., Cal. 

Forty pounds is a good bit to reduce — a 
strenuous method must be used. Exercise and 
diet, certainly. Plenty of both, and in regular 
quantities. I should suggest a diet for a while, 
from which you eliminate all starches, sugars 
and fats. 

Bobbed hair is very smart. If your hair is 
cut in becoming style I should leave it alone, 
for a while at least. 

Because of your weight you should wear 
clothes that are well cut, along the simplest of 
straight line styles. A long waist line will 
make you seem a bit slimmer. Flowing sleeves 
—long ones — will cover your arms and yet 
accentuate the beauty of your hands. And 
long skirts will be far better for you than the 
shorter ones. 

The rouge that you wear is quite all right. 
I should suggest, too, a dark lip stick. If you 
seem to follow the Spanish type wear a good 
deal of black — with a touch of scarlet, often, 
or a dash of bright green or flame or orange. 
Black will also make you seem more slender. 

Betty, Cincinnati, Ohio. 

No, indeed, you do not look older, to me, 
than your eighteen years. Anyone who tells 
you that you look over thirty is being cattish — 
and untruthful. I think that your photo- 
graphs are charming. I see a slight resem- 
blance to the lovely Mae Busch in them. You 
are not a usual type — you are "different." 

Having a baby should not change your style 
of dress. Wear becoming frocks of color and 
line that suit you. Do not try to look 
matronly. From what I see of your frock and 
hat, in the pictures you sent me, I should say 
that you have very good taste. Your weight? 
That is quite all right. 

If you have a capable woman, one whom 
you trust, to leave the baby with I do not see 
any harm in going out, of an evening, with 
your husband. You must be very careful, 
though, in your choice of a nurse. The baby is 
very young — you must take no chances in 
regard to his welfare. But you must not 
sacrifice your husband, either. Many women 
neglect a husband for a baby — and some 
women go to the other extreme. Don't make 
either mistake. 



Mrs. L. H., Indianapolis, Ind. 

I am afraid that I cannot answer your in- 
quiry through the columns of the magazine. It 



is just a trifle too personal. But if you send me 
a stamped, self-addressed envelope, I will be 
more than glad to give you whatever advice I 
can. 

Lucille, Boston, Mass. 

I think that you will undoubtedly find 
Woodbury's facial soap satisfactory. It is 
beneficial to the skin, and contains only pure 
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Oily skins are hard to handle, as the unhappy 
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with care and treatment even the most oily 
skin may improve. If you will send me a 
stamped, addressed envelope, I will be able to 
give you more detailed advice. 

Irish, Worcester, Mass. 

This is the month of the overweights! No 
one, so far, has complained of being too slim! 
Large arms may be reduced by massage and by 
exercise — the exercise that gets the best 
results is not hard to do; merely stand with 
heels together and back straight and the 
offending arms stretched at right angles from 
the body. Turn the arms in a wide circle — 
always stretching as though you were reaching 
for some object. Describe twenty-five arcs — 
if it does not tire you, thirty-five — turning firr t 
the left arm, then the right, and then both 
together. Either electric, violet ray or hard 
rubber massage will be effective. 

With blue eyes, fair skin and a quantity of 
black hair you can wear nearly every color. 
Blues and violets will be most becoming to you, 
however. The darker shades will make you 
seem more slender. 

A good astringent, or a fine astringent cream, 
will reduce the enlarged pores. 

"Troubled Heart," San Francisco, Cal. 

You assure me that you absolutely trust the 
man to whom you are engaged, and then, in the 
next breath, you say that you are bitterly un- 
happy because he was attentive to your house 
guest at a dance that you gave in her honor. 
My dear, wasn't it just exactly right for him to 
make your friend's evening a pleasant one? If 
you were giving the party for her, wasn't it 
almost the young man's duty to amuse her, and 
to pay her the most courteous of attentions? 
"Of course," you write sadly, "I told him to be 
nice to Mabel. But I didn't expect him to be 
so nice!" 



Let Carolyn Van Wyck be your confidante 
She will also be your friend 

/^AROLYN VAN WYCK is a society matron, well known in New York's smartest 
C and most exclusive inner circle. She is still young enough fully to appreciate the 
problems of the girl — she is experienced enough to give sound advice to those in need of 
it; be they flappers, business women, or wives and mothers. She invites your confidences 
— she will respect them — on any subject. Clothes, charm and beauty, love, marriage, 
the dreams and hopes that come to every one, the heartbreaks and the victories — who has 
not wished to talk them over with some woman who would be tolerant and just, sympa- 
thetic and filled with human understanding? Here is the opportunity to do so. 

— The Editor 



Every advprtisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



"3 



As I see the situation, your fiance was obey- 
ing your instructions to the letter. You asked 
him to be kind to your friend, and he was just 
as kind as he could possibly be — for your sake. 
And you allowed yourself to be small, and 
jealous. If you are going to allow yourself to 
have those feelings, after you are married, you 
are almost bound to have periods of intense 
misery. And so, for that matter, will your 
husband! 

Look on the fair side of the case. Realize 
that a man does not put the shades of meaning 
into his every chance word and action that the 
woman, who loves him, can sometimes read 
there. Often, quite unconsciously, he gives a 
false impression when he is just being courteous 
and — in the case of your fiance — obedient. 

"The Giant," Bloomington, III. 

What a silly girl you are ! You are not a bit 
too tall — your height is just about medium. 
Perhaps you seem taller because you are so 
slim — a few added pounds would help very 
much. Drink plenty of milk, and get more 
than your share of rest. 



The Autobiography of 
Harold Lloyd 

[ CONTINUED FROM PAGE 57 ] 

afford to pay me three hundred. Times were 
hard, and they'd spent a lot for this and that, 
and two hundred was the limit. My heart went 
right down in my boots. I'd counted so much 
on that raise and planned so many things. 

Then, as usual, I began to get spunky. I 
knew, as salaries went then, I had a right to 
three hundred. It was only just that I should 
have it. I said it was in my contract. Hal 
said he was sorry, but they couldn't pay it. So 
I said, "All right, I'll see." 

I went home, in the dumps, and Dad and my 
brother Gaylord and I sat there talking. It 
was ten o'clock and all of a sudden I said, "See 
what time the next train goes to New York. 
I'm going back and talk this thing over with 
the heads of Pathe." 

Gaylord 'phoned and said the next train left 
at eleven o'clock. 

"Let's hurry," I said, "because I'm going to 
be on it." And I was. And that was the way 
I went to New York. 

Right here I would like to say one thing, be- 
cause it may help some other fellow in the same 
place. Whatever I have been able to accom- 
plish in pictures that the public has liked, has 
been made possible, I believe, by one thing — 
my independence. I have never been forced to 
make bad contracts. 

IN the early days I made pictures under all 
sorts of handicaps. Sometimes we turned 
them out in four days. But since "A Sailor 
Made Man " I have been free to make the best 
pictures I knew how to make, to spend as much 
money as I wanted to, and as much time as was 
necessary to make them right. 

And that independence of mine has been 
based largely upon the fact that I was finan- 
cially independent almost from the start, 
because I saved my money. I was never in 
debt, never up against it, and I could choose 
my own path. 

In this business — in every business, but in 
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spend it. If you earn fifty dollars a week, pre- 
tend you're only earning forty. Stick that ten 
dollars in the bank. You can. When I got 
sixty, I saved fifteen. When I got a hundred 



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ii4 



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and fifty, I put away fifty and lived on the 
hundred. There were lots of things I wanted, 
too, and I like to splurge as well as anybody, 
but I saw in my savings the only way to safe- 
guard my work and what I wanted to do. 

So, when this disagreement came up, I had 
five or six thousand dollars in the bank. I 
could afford to go to New York to talk it over. 
I could afford to be out of work for a while, if 
necessary. And that same situation has come 
up a good many times since. 

Going back on the train, I was in a fever of 
excitement. 

You've read stories about the boy who lands 
in New York without a friend, a job, or a dime. 
I did have the dime, but I didn't know a soul, 
nor a street, nor a hotel, and I didn't have a 
job. I might pretty near have been the hero 
of one of those yarns so many authors have 
written. 

Believe me, I shall never forget my first 
glimpse of that great city. I never felt so lone- 
some in my life. I stood at the window of my 
hotel bedroom, looking at that majestic skyline 
and at the roaring, crowded street below, and I 
seemed to myself the smallest atom in the 
universe. There were so many people and I 
didn't know one of them to speak to and not 
one of them knew me. 

I went out and walked down Broadway — 
Broadway — for the first time, and when I saw 
on the electric signs in front of the theaters 
names that had been part of my dreams since I 
was a little boy, I almost cried for joy. And 
I'm not ashamed to admit that I went and 
stood on the corner of Forty-second and Broad- 
way and only my natural timidity and the fact 
that I didn't have a flag kept me from doing a 
George M. Cohan song right there. 

I tell you, it got me. I've made a good many 
trips to New York since, but I'll never get the 
kick out of it again that I did on that first trip. 
I was overwhelmed, but I loved it. I went out 
that first morning and bought tickets to see Al 
Jolson that afternoon and Fred Stone that 
night, and I buttoned them in my pocket and 
could hardly wait for time to go to the theater. 

Then, as I started back, I got the biggest 
thrill I have ever had in my life. I came 
suddenly face to face with my own name in 
electric lights, on Broadway. My knees 
actually knocked together. I walked around 
the block and came back. It was still there. 
"Harold Lloyd in Bumping Into Broadway." 
All of a sudden it began to blur and get sort of 
dim, and I thought they were going to take it 
down, and then I realized that I couldn't see 
very clearly because there was a mist in front 
of my eyes. 

IT'S a wonderful thing to have a dream come 
true. It's worth working and slaving and 
sacrificing for, I tell you. I knew it then. 

It was the first time I'd ever seen my own 
name anywhere. I'd been nameless, even on 
the screen. It was almost too much for me. 

Well, that gave me a little more confidence, 
and I was able to keep a fairly stiff front, but I 
was scared to death just the same I didn't 
even know whether Pathe would see me. I 
didn't even know whether they'd ever heard of 
me in the New York office. I didn't know 
where their office was and I couldn't find the 
telephone number in those New York direc- 
tories. At last I did find it, though. I called 
up, and I gritted my teeth twice before I spoke 
to steady my voice. 

"This is Harold Lloyd," I said modestly, 
expecting the telephone girl to say, "Well, 
what of it?" 

She didn't. Miraculously, she said, "Oh, 
yes, Mr. Lloyd. Mr. Brunet (the new head of 
Pathe) is expecting you at ten o'clock tomorrow 
morning. He'll be here waiting for you." 

I hung up in a daze. They knew I was in 
New York. They knew who I was. And they 
wanted to see me. 

My knees were still a little shaky when I 
went up at ten o'clock the next morning, all 
shined and shaved within an inch of my life. 
Tn ten minutes I had signed a new contract, 



with my three hundred a week, and they had 
tried to pay the expenses of my trip back there. 
I wouldn't let them do that, though. 

But I did let them show me the sights — and 
the theaters. My, they were wonderful! 

When I started home, I was feeling pretty 
good, I tell you. 

TJUTI didn't get the swell head then, and I 
-'-'don't believe I ever have since. If I ever do, 
I hope my wife will tie me down and pour a 
little chloroform over my head. Of course 
there isn't any reason why I should, but it 
seems to be expected in a way, and it seems to 
be part of human nature besides. 

I don't believe it'll ever get me. I'm happy 
and grateful over my success, but I had a 
lesson in my youth that stuck on that subject. 

John Lane O'Connor, the man who got me 
my first chance in stock, was the man who 
busted my first swell head and prevented my 
getting any more later. 

It was while I was at the San Diego High 
School. We put on a college play called 
"Going Some," in which I played the leading 
role. The show was a success and I made a big 
hit. Everybody told me so. The girls all 
gathered around afterwards, along with most 
of the audience, and explained to me how won- 
derful I really was. 

My head started to swell and it wasn't long 
before I'd decided John Barrymore was really 
a dub, and I was going to show him up before 
long. 

The next morning I strutted down to the 
dramatic school and into Mr. O'Connor's office 
with a head as big as a washtub. He hadn't 
come around after the play and I wanted his 
praise added to the chorus. As I waltzed into 
his office, he buried his face in his hands. I was 
startled but not stopped, and I said, blithely, 
"Well, how'd you like the show?" (He had 
directed it.) 

"Not so bad." 

" And how'd you like me? " I asked, beaming. 

"You were terrible," he said, shaking his 
head sadly. "I have seen worse actors some- 
where, but I can't remember where." 

I stood stunned and silent. Then, quickly, 
with his cutting Irish wit and his fine command 
of English, he explained to me just how far I 
had come from giving a really good perform- 
ance. He mentioned just what points I had 
failed to make, what laughs I had failed to get, 
and how I had bungled my entrances and exits. 
He told me that I might make an actor some 
day but he was beginning to get pretty dis- 
couraged about it. 

And then, in glowing colors, he painted the 
heights to which real acting could go. He held 
up before my eyes pictures of such men as 
Edwin Booth and Laurence Barrett, John 
Drew and Sir Henry Irving — such women as 
Maude Adams, Modjeska, Mrs. Fiske and 
Margaret Anglin. 

It was cruel, brutal, but it was the greatest 
thing that ever happened to me. I want to tell 
you, when I walked out of that office you could 
have bought me for a dime. My head had 
descended exactly like a pricked 1 alloon. 

I have never forgotten it. In the years when 
some measure of success has come to me, it has 
helped me at all times to keep my perspective, 
and not to make myself ridiculous. 

It's a great thing, when you're feeling a bit 
puffed up over some bit of success, to measure 
it by the yardstick of the world's accomplish- 
ments. I like to look at men who paint great 
pictures, or write great books, or give great 
music to humanity. Or to look at statesmen in 
Europe, battling for the safety of nations and 
the peace of millions and the rights of the down- 
trodden. You can't feel you're much, if you do 
that. 

I was in New York when Woodrow Wilson 
passed away. His going made me very humble. 
I thought of that man, who has stood for years 
as the leader of the world's liberal thought, who 
outlined the beautiful ideals upon which some 
day the glory and peace of humanity will be 
founded, and I thought how quietlj' and un- 



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i i 



ostentatiously he dipped away and 1 felt that 
none of us could do much in this world but our 
best, and that we must keep very quiet about 
that. 

I am grateful for all that 1 have been given. 
But I know how much luck I had to have in 
order to do it. And the only thing that gives 
me real satisfaction is to think that maybe I 
make the world a little happier. I like to think 
that people can go to see my pictures and 
maybe forget for an hour their cares and 
burdens. I like to think maybe if their hearts 
are heavy, my work helps to lighten them. 

And, after all, happy people are rather apt to 
be good. 

I like happiness myself, and I find it in 
rather simple ways. They say I'm the greatest 
guy for hobbies and that I have a one-track 
mind. I do get sold on a thing; I want to mas- 
ter it and learn how to do it before I move on. 

When I had won with Pathe, I went home 
and started a long period devoted almost ex- 
clusively to hard work. With the release of 
"A Sailor Made Man'' the bigger success of 
our pictures seemed assured. From then on, 
we tried just to build them. 

My wife says 1 am a nut when I am working 
on a picture. I guess she is right. She usually 
is. She says I talk, sleep, eat, and dream 
picture. I always used to worry about a pro- 
duction, was always sure it wasn't going to be 
any good. I almost worried myself into a 
padded cell over " Grandma's Boy." We'd put 
a story, and some pathos and drama in it, and 
I wasn't sure how they'd like it. 

Since then I have formed my own organiza- 
tion, and things have been easier for me. I 
have a wonderful staff, every one of them 
entirely competent and most of them with me 
for many years. My uncle, William R. Fraser, 
is my general manager and he and my father 
take the business and financial worries off my 
shoulders. Walter Lundin, my cameraman, 
has been with me nine years. Sam Taylor, who 
directs with Fred Newrulyn and is head of my 
scenario department, and Tommy Grey, Tim 
Whelan, John Grey, my gag men, dope out 
some of my story before I go to work. John 
Murphy, my production manager, came with 
me from Roach. With these men taking the 
brant of the work, I don't have to worry and do 
everything for myself as I once did. 

Oh, yes — I did get married. 

"pUNNY, it was a little episode during the film- 
■*- ing of "A Sailor Made Man" that first 
awakened my real interest in Mildred. We had 
to do some work on battleships in that. There 
were a lot in San Pedro harbor, but nobody was 
very anxious to have us use them, and after we 
did obtain permission nobody went out of their 
way at first to make it easy for us. The navy 
didn't unbend in the direction of a motion 
picture comedian to any appreciable extent. 

The second day, Mildred came down to 
work. Some of the officers saw her. From 
that minute she owned the fleet. She got us 
permission to do things we'd never hoped to do. 
We were immediately invited to lunch. They 
ordered out the crew. They brought out 
launches to send Mildred ashore. She certainly 
knew how to handle them. 

That night I took her down to Sunset Inn to 
dance. She's such a dainty little thing anyway, 
and that night she wore a frilly pink dress. I 
can't exactly describe it, being a mere man, but 
I liked it. We danced a good deal together, 
and Mildred is an exquisite dancer, and I like 
to dance. Before the evening was over I 
decided I liked Mid pretty well. 

But I can't say she went out of her way to 
give me any encouragement. Mildred was a 
good deal of a coquette, and she had a lot of 
beaux. But her folks were awfully strict with 
her, and I was the only fellow they allowed her 
to go out with unchaperoned. The others 
could call, or take her to a theater, with Mrs. 
Davis. So I had some advantage. 

We drifted along for quite a while, though. 
I went around with other girls, and whenever 
Mid and I did get serious — we'd put it off. 



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All the time she'd been talking about going 
into dramatic work. She had several good 
offers, too, while she was with us. With the 
end of "Safety Last" her contract with me ex- 
pired. Immediately she was offered several 
good dramatic opportunities. She signed to do 
one picture. 

Then I began to think seriously about it. I 
knew by that time I really loved Mildred and 
I was sure she loved me. We were always so 
happy together and we liked the same things. 
And though she'd never said "yes" when we 
talked about marriage, I was pretty sure in her 
heart she intended to marry me some day. 

I knew if she left our quiet little studio and 
got to playing in other pictures, she'd change. 
And I decided, since I wanted a wife who loved 
her home and husband and wanted a family, 
that we'd better marry right away before she 
got into a lot of other interests. 

So I asked her — and I told her how I felt. 
Up to that time she had never been willing to 
give up her career, never been willing to leave 
the screen. But I told her I was sure it was the 
only way we could be happy, and at last she 
consented. 

So we were married. Since then, of course, 
I've told her she could go back into pictures if 
she wanted to. I felt I'd been unjust to de- 
prive her of her work, and that maybe she'd be 



better off if she had her job to do. I felt I'd 
exercised authority that wasn't rightfully mine. 

So she made one picture. 

But now — well, now before long, she'll have 
another interest in life, and we'll both have 
something worth while to plan for and think 
about. 

When Mildred retired as my leading lady, we 
selected little Jobyna Ralston to take her place. 
Jobyna had been playing leads in one-reel 
comedies on the Roach lot, and Mildred her- 
self helped to select her. She came from 
Tennessee, and the worst break of luck for her 
is that you can't hear her talk on the screen. 
In "Why Worry" and "Girl Shy," she's done 
excellent work and I won't have to worry about 
a leading lady for a while anyway, for we have 
her under a three years' contract. 

I've given twelve years to learning the 
picture game. With each picture I've learned 
something new. No one man will ever know 
all about pictures, but I have learned a little. 
But it's all I know. I haven't had time for 
anything else. Now I'm going to build a home 
in the country, and bring up a family, and see 
something of the rest of the world. 

But making pictures will always be the most 
wonderful and fascinating game in the world, 
and I hope I can go on making pictures that 
you folks will like. 



The Love Dodger 

[ CONTINUED FROM PAGE 51 ] 



of the fire. She brought a small table. She 
bustled about, waiting on him joyously. Things 
to eat appeared as if by magic. 

Xone could cook like Gertie. He told her so. 
"You can fry chicken," he said, laughing at 
her, "better than anyone else in the world." 

"Then you eat every bit of it," she scolded 
him merrily. "Take it right up in your fingers, 
Brownie, that's the only way to enjoy chicken." 

He did. Over a drumstick, he said, "How's 
my boy?" 

"He's splendid," she said, with the quick, 
proud sigh Buddy's name always brought, 
"but he — misses you. Only he adores the dog 
you sent him. I wanted him to have a dog, 
every boy should grow up with a dog, but I 
didn't know exactly what kind to get him. 
Captain is beautiful. I think you and I have a 
rival in Buddy's heart." 

The conversation died. The inevitable 
pause fell. He saw the little hurt look grow in 
her eyes. How sweet and kind she was! A 
man could scarcely bear to hurt her. 

HE slipped his hand into his pocket and 
brought out a long flat box of white velvet 
and handed it to her in silence. He was still 
eating fried chicken and he occupied himself 
very ostentatiously with a wing while she 
opened it. 

He had not realized how delicate and ex- 
quisite the small circle of diamonds was. Paula 
Swayne's amazing taste had selected a thing 
that would arouse joy in Gertie Morrison's 
heart without startling her. 

A slim thing of small but exceptionally per- 
fect stones. Gertie Morrison sat looking at 
them as though they had paralyzed her power 
to speak or to move or to do anything except 
look. 

Then, without warning, she let the whole 
thing fall to the floor, and putting her head 
down on the little table, began to weep bitterly. 

"Gertie," said Cleveland Brown sharply, 
"for God's sake don't do that. I can't stand 
it." 

Well, that was it. Everything about Gertie 
Morrison must always be tinged with sorrow. 
There was a chord of pain even in her laughter. 

And yet he was going to marry her, because 
he saw that she had interpreted his gift as an 
acceptance of her proposal and he could never, 
never tell her anything different. 

Paula Swayne hadn't proved infallible after 
all. Or had she? 



"Don't — please," he begged her again. 

"All right," she said softly, "I won't." 

She did not stop to wipe the tears from her 
face. She came and kissed him on the fore- 
head, and then she sat down on the arm of his 
chair, with her hand upon his. 

"I've got to tell you something, Cleveland," 
she said. "I'm glad you want to marry me. 
I'm glad you thought me worthy. I shall be 
glad all my life and I shall cherish it, and it will 
often comfort me. But — I can't do it." 

"What?" 

"I can't marry you, dear." 

"You can't?" 

"No. I thought I could. But you see — I 
shall never love anyone but Harlan. I don't 
think I could bear to belong to anyone else — 
even you. I told you the other night I wasn't 
Harlan's wife any more — but that was a lie. 
I'll always be his wife. And I'll always believe 
that if there is any sorting out in heaven, and 
any fixing up of these divorces and marriages 
and mistakes, he'll be given back to me for all 
eternity. 

"Marriage like ours, that was a complete 
union of all that makes a man and woman one, 
can't be dissolved just by a few words spoken 
by some judge. Nor by any cheap woman who 
deceives a man's senses. Marriage is as eternal 
— as motherhood. To me, at least. I'm just 
as much Harlan's wife as I ever was, in my 
heart and soul. I'm — not free. I never will 
be." 

He put his arm about her and drew her head 
down to his shoulder. Strange how well he 
understood what she meant. 

"Wait," she said, "there's something more. 
I'm — a wicked woman, Brownie. Most of all 
it was for Buddy that I — asked you. But 
there was something small and mean and 
revengeful in it, too. Pique and wounded 
pride. I had been cast aside. I wanted to 
show Harlan he'd cast aside a woman who 
could turn around and marry the most eligible 
bachelor on the screen. 

" Harlan — values things because others value 
them. I knew he'd hate it, simply hate it, if I 
married anyone like you." 

"I know, dear," said Cleveland Brown, "I 
know. But there's always — Buddy." 

She nodded at him and sat up, smiling. She 
picked up the bracelet from the floor. 

"It's so beautiful," she said softly. "I never 
had anything so beautiful. I — never forgot the 
days when we were so poor, and I just couldn't 



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Photoplay Magazine — Advertising Section 



I ear to have Harlan buy me things that cost so 
much. May I keep it, even if it isn't an en- 
gagement present?" 

He loved the sound of pride in her laugh. 
How much it had done for her wounded spirit, 
that bracelet. 

"I'm not an Indian giver," he said. "I 
won't take back my present just because you 
threw me down." 

The quick color came to her cheeks. "Oh, I 
didn't, really," she said happily, "did I? It 
seems funny, doesn't it, I — Gertie Morrison — 
should refuse to marry the great Cleveland 
Brown. But — listen, dear. It's for you, too. 
I'd be cheating you horribly. Even if I didn't 
love Harlan, I'd be cheating you. I've given 
the best of myself to another man. 

"A woman never loves anyone else quite like 
she loves the first man who is her husband, and 
the father of her first baby. No matter how 
completely she loves later, there's something 
about that first love, especially if it's happy, 
that's different. He's always in her heart. 
She's given him the thing that God created her 
to give. 

"You deserve a woman who loves you that 
way, and only you, and who had never loved 
anyone else. I — may be awfully old-fashioned, 
but that's the way I feel. I know you'll find 
her, too." 

IT wa a little difficult to go to Ray Connable 
after that. 

But he had to go. He had promised. 

Besides, a queer feeling had come over him 
that nothing could go wrong. There was 
magic in the experience. Direct and simple 
magic. 

Also, there was a purpose in all this. Hidden 
from him as yet, but wonderfully potent. It 
was the elimination of all the confusing 
elements with which his life, his great success, 
his fame, had surrounded him. It was leading 
him back to the primitive, the natural, the 
simple. Where he belonged. 

He had never been to Ray Connable's apart- 
ment. They had always been upon pleasure 
bent and Ray Connable belonged unmistak- 
ably to a life that moved about seeking, as a 
butterfly flutters in a flower garden. 

A gigantic colored woman let him in and he 
sat down on a big couch which was covered 
with a many-colored Spanish serapi. 

"Miss Ray'll be right out," said the colored 
woman majestically. "You set down and rest 
comfortable. Would you like a drink?" 

Cleveland Brown smiled at her, an ad- 
venturous smile. "No, thank you, Ella," he 
said, "I'm fine." 

She went out and he inspected his surround- 
ings curiously. He watched the goldfish flip 
their tails in an ornamental glass 1 owl, the 
canaries asleep in a gaily painted wicker cage. 
There were fresh flowers everywhere. Mari- 
golds on the upright piano, and heavy purple 
asters in a basket on the round table, and red 
dahlias that were almost black in a tall, black 
and gold vase on the writing table. 

It was like Ray Connable. Jazzy and full of 
life and color, and oddly incongruous. 

Ella shut the door and went into the tiny, 
combination bath and dressing room. 

"What do you suppose he wants?" asked 
Ray Connable nervously, as she touched her 
eyelashes with mascara. 

"I don't know, but whatever it is, it's all 
right," said Ella. "He's smiling like anything 
out there, and it ain't a mean smile either. 
Whatever he's going to say to you, Miss Ray, 
it's all right." 

Ray Connable gave a final hitch to the flar- 
ing trousers of her Chinese house suit and went 
out. 

"Hello, Clevie," she said. "This is what the 
etiquette books mean when they refer to an 
unexpected pleasure. I'm a bit negligee, as the 
saying goes, but I can stand it if you can. I 
was so doggone tired tonight my teeth ached. 
That guy Vanatta is terrible. I had to remind 
him today that I was an alleged actress, not a 





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Photoplay Magazine — Advertising Section 




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pack mule. My God, he had me climbing up 
and down hills, carrying a sack on my hack, 
like I was a dog team. Of course they'd pick a 
New York chorus girl for the heroine of a wild 
west drama. Anyway, pictures have broke me 
of the wild life I used to lead. When I remem- 
ber how that old alarm clock sounds at six- 
fifteen, I want to go to bed before dinner." 

She fluttered her pretty fingers in front of her 
face, in a gesture she had. 

"It's a shame they work you so hard, Ray," 
said Cleveland Brown comfortably. 

Ray Connable shot him a quick and search- 
ing glance. 

""PHIS was not the Cleveland Brown she knew. 
*• She had never seen him look so well. There 
was a negligent air about him that was new to 
her. There he sat, perfectly at ease on her 
sofa, smiling a dreamy, expectant smile, and 
the last word mentioned between them had 
been a quarter of a million dollar breach of 
promise suit. 

He hadn't even batted an eye over the 
sleeveless red pajamas she wore. 

"Oh, everybody's got some crab about 
work," she said pertly. "Did you ever know 
anybody that wasn't burdened with either too 
much or too little work? I can stand it if they 
can. I told him today when he started to yell 
and rave and chew a lot of rocks out of the side 
of a mountain, I said, 'I hope you'll remember, 
Mr. Vanatta, that this is just as tough for me 
as it is for you. I may hurt your artistic sense, 
but you've ruined my eardrums.'" 

She giggled, but her eyes were fixed on him 
alertly. 

Something was up. She was more than ever 
sure of it when he took from his pocket a long, 
flat box of white velvet and held it out to her. 
"What's this, dynamite?" she asked sus- 
piciously. "Do I open it?" 

"Of course. It's just a little present I 
bought you." 

"You bought me a present? Why, you poor 
fish." 

She opened the box and looked long and hard 
at the bracelet of emeralds, deep and green and 
devilish, that lay gleaming within. 

Her gray eyes narrowed appraisingly, like 
those of a pawnbroker, and then grew strange 
with suspicion. 
She handed the box back to him. 
"What's all that for?" she asked coldly. 
He remembered that once, when he was 
working near the Macy Street school, where 
only one child in seven can speak English when 
it enters the kindergarten, he had tried to give 
a dollar to a very small, very dirty urchin who 
stood on the curb watching the proceeding 
with open mouth. 

There had been the same suspicion, the same 
pitiful expectance of evil, in those child eyes as 
they looked upon his innocent dollar that now 
lay in Ray Connable's face. 

The little memory softened his heart to Ray 
Connable. 

She was what life had made her, was Ray 
Connable. Leda O'Neil was what she was— 
she would have been that anywhere. But this 
girl before him, with her bobbed curls and her 
childish hands and her cold eyes, was different. 
If she had married some decent chap, instead 
of going to New York, she might even have 
been rather like Gertie Morrison. He saw that. 
It was only the difference in their experience. 

"You can take it, Ray," he said gently. "I 
wanted you to have it. I saw it in a jeweler's 
and I thought emeralds would suit you, some- 
how." 

Her hand reached out and reclaimed the box. 
This time she took the bracelet and laid it 
across her palm. 

"It's — beautiful," she said, with a choke in 
her voice. 

In the farther room he heard the deep, 
melodious voice of the tall, colored woman 
singing a negro spirituelle. It had a deep, 
quivering note, her song, the note that you 
hear sometimes at a revival and that sends the 
sinners to the sawdust trail. 



"Joshua fit de battle of Jericho, 
A-men, so-o-o glad, a-den 
Joshua fit de battle of Jericho, 
An' de walls came tumblin' down. 
T-oo-00 tru-uue." 

The emeralds had a fresh green, the color of 
the spring leaves in the hillside woodlands 
where Ray Connable had played as a ragged 
and barefoot child. 

"Look here," she said suddenly, "I can't go 
through with this thing, Clevie. I'm no black- 
mailer. I thought I could and I know I'm a 
damn fool not to, but — I can't. I'm — much 
obliged for the bracelet — and — " 

She went to the desk, an absurdly small, 
childish figure in the frivolous little, gay little 
scarlet pajamas. 

"I'm sort of superstitious," she said, gal- 
lantly, "and — I feel funny about it. You don't 
love me and I don't love you and you got a 
right to something better. It's all right to do 
some folks, Clevie, but there's folks you can't 
do and keep your chin up. And I've always 
kept my chin up, no matter what they may 
say." 

She tossed a crumpled ball into his lap, and 
he knew without looking that it was the papers 
she had shown him that night in the car. 

"Doggone it," she said, and she gave an im- 
pudent, gallant laugh, "I'm a white-livered 
young pirate, I am. The old sob stuff got me. 
Anyway, that was too close to blackmail to 
suit me." 

"Ray," said Cleveland Brown dreamily, 
"how'd you like a real good job, maybe a five 
year contract? " 

"Do you know any more funny jokes?" 

"I've got one for you." 

"Sweet mama," said Raj' Connable, "maybe 
hone'sty is the best policy. Oh, what a joke 
that'd be on a lot of eggs, wouldn't it, huh?" 

A S he went through the starlit darkness he 
■**was conscious of a new and terrible fear. 

The exaltation, that had been singing through 
his veins, died: The boldness, the daring, that 
had winged his feet, evaporated. 

Everything dropped away from him, leaving 
him alone with all the old, unexplainable 
emotions of childhood. He wasn't a great 
lover. He had no complex emotions, no per- 
verse desires. He was what he had always 
been, a rather simple and very kindly and 
somehow very fine young man from the 
Middle West. 

It was a Queen Anne house, of severe out- 
line, totally unlike any other house in Holly- 
wood. A small house, but with immense 
personality and tremendous dignity and a 
sweet reserve. A house you would never dream 
of entering familiarly or rudely. 

There were two tall cottonwood trees on 
either side of it, and a gravel path ran through 
the neat little lawns to the small ravine of 
garden behind. 

Even as he stood before her own front door 
he could not seem to find Janice. A terrible 
confusion was upon him. Janice had always 
been so fixed in his consciousness, almost a part 
of himself. Now she had vanished like a face 
in the mist. He could not picture her. The 
sound of her voice eluded him. 

"Janice. Janice." He said it over to him- 
self, softly. A lovely name, Janice. How it 
suited her, as a beautiful binding suits a well- 
loved book ! As a certain vase suits a spray of 
lilies-of-the-valley. 

Janice — what was Janice? 

The darkness and the silence and the closed, 
white door clouded her in impenetrable 
mystery. 

Yet she loved him. 

Did she love him? They had told him so, 
but he had thought about it as belonging to 
Janice. It had been something connected with 
Anabelle and Janice's mother. 

Now it belonged to Janice, and it filled him 
with sweet, hot imaginings. 

He had learned about women this night from 
Leda and from Ray Connable, from Gertie 
Morrison, and most of all from Paula Swayne. 



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And that knowledge filled him with an im- 
mense awe of Janice, who was young and lovely 
and sweet and clean and strong, just that. 
How simple, and yet what a splendid thing for 
a woman to be! 

When he saw her curled up in a big chair 
with her feet over the arm, and her hair 
rumpled, she did not even look like the every- 
day Janice he knew so well. Her eyes were 
dreamy and her cheeks were flushed over a 
book. 

HE picked it up. She had been reading the 
>tory of Launcelot and Elaine. Did any- 
one, then, read Tennyson, in Hollywood, in this 
day and age? He remembered something of 
the story and the mood of it touched him with 
soft fingers, like a moonbeam. 

He liked the little brown library that was 
hers. A boyi.-.h room, he had always thought it. 
The books that packed the plain shelves, from 
floor to ceiling. The big, deep chairs. The 
bright Chinese rug. The dull, yellow reading 
lamps. Somehow he had never pictured Janice 
with books. He pictured her in the open air, 
with gusts of wind blowing her hair, or the salt 
spray on her lips. Vet there were hundreds of 
well-worn books in that little room. 

"Hello," she said, in her full, boyish voice, 
without moving, "what are you doing here so 
late? You look — excited." 

"Nothing. I brought you a present, Janice." 

Her deep blue eyes, fringed with their 
straight, heavy, black lashes looked up at him, 
wide open. She sat up. 

" Oh — really? I adore presents. What is it? 
Let me guess." 

He beamed. "Guess." 

Her eyes danced at him. "Have you got it 
with vou?" 

"Uh-huh." 

"In this room?" 

"U-mm." 

"Oh my! Is it nice? Did you think just 
about me when you bought it?" 

" I bought it just for you and I thought a lot 
of things when I was doing it." 

She laughed, the prettiest, clearest little 
laugh he had ever heard. Excitedly, she 
tucked her pretty feet beneath the skirt of her 
blue linen dress. 

"Book?" 

"Nope." 

"Is it something to eat?" 

"No." 

"Does it smell nice?" 

"Not specially." 

"Then it just must be something to wear." 

He nodded. 

"Oh, I never was so excited. Is it clothes or 
jewelry?" 

"Jewelry." 

For an instant she could not speak. Her face 
grew tense. "You'll have to show it to me, 
that's all, or I'll burst." 

He brought from his pocket a white, flat box 
and held it out to her. 

Breathless, and with fingers whose trembling 
he could see, she opened the box. 

Oh, they were most beautiful of all, those 
deep, blue stones. They had a gracious spirit. 
They were the color of all things closest to God. 
Why, they were exactly the color of Janice's 
eyes. 

He heard her gasp. There was an awed, 
almost frightened, silence. Janice's eyes grew 
bigger and bigger, like a child's on Christmas 
morning. 

"W-why-ee, Cleve. Oh, the beautiful, 
lovely things. Is it for me? Really and truly 
for me? Oh, Cleve, put it on for me — I can't." 

He snapped it about her firm, tanned little 
arm, with its delicate wrist. 

And then suddenly he found himself held by 
a pair of strong young arms, and hugged 
violently. A cold, hard little kiss — a child's 
kiss — fell somewhere between his nose and his 
right eye. 

" It's the most beautiful bracelet I ever saw," 
she said happily. "I've wanted one so long. 
All the other girls have them, but none so 



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120 



Photoplay Magazine — Advertising Section 




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beautiful, so perfect, as this. You know — it's 
funny — but this little old ring that father gave 
me is the only jewelry I ever had in my life." 

She held up her smooth, tan hand, with a 
small gold seai ring upon the third linger. "I 
always wear it, because he gave it to me." she 
said seriously, "and I'll always wear this be- 
cause you — yon — gave it to me. I love it, 
Cleve. I can't tell you how much." 

Something within Cleveland Brown began to 
quiver and sing, like a butterfly bursting its 
cocoon, when she said that "you — you." 

It meant so much. It was himself — just 
himself — and not the great and famous and 
wealthy Cleveland Brown she meant when she 
said "you — you." And he knew that if he had 
been a stalwart young electrician, or a tired 
young cameraman struggling for a chance, she 
would have said exactly the same thing. And 
that was a very wonderful thing for Cleveland 
Brown to know. 

He was glad he had given her the bracelet. 
But he felt it would be just as much fun to give 
her anything else. A bunch of sweet peas on a 
spring day. Or a new pair of shoes. Or a trip 
around the world. 

That was Janice. 

He thought of the countries he was going 
forth some day to see. And he had a vision, as 
men will have visions when they stand upon 
the mount of revelation, of Janice beside him. 
They belonged. 

They two. They two. 

Strangely enough, he had forgotten all about 
the test. He had forgotten that there had ever 
been a ruby bracelet, and an emerald bracelet, 
and a diamond bracelet. Those things, those 
wanderings, might be all right for other men. 
Other men might need them. His was a differ- 
ent need, a different desire. 

This was Janice, his Janice, and he was filled 
with something new and sweet and wonderful 
that flooded into his throat and must be said. 

"Janice," he said, "will you marry me?" 

The arm with the bracelet fell to her side. 

She drew herself up to her full, boyish height, 
standing as straight and regal as a young ilex 
tree. 

HER eyes met his and, to his amazement, 
they were filled with anger and scorn and a 
great hurt. "No, I will not marry you," she 
said very distinctly. 

Why had he never noticed the proud, free, 
fearless way she carried her head upon her 
young shoulders? 

"You won't?" he said stupidly. 

"I should say not. Don't look so surprised. 
I suppose you thought every girl in Hollywood 
was chasing you, eh? Well, here's one that 
wasn't. 

"Oh, I found out what my mother did. I 
made her tell me. And my mother means well, 
but she's just a poor old simpleton and she 
doesn't know what she's talking about. You 
haven't compromised me, and if you had, I 
guess I could darn well stand it. As for marry- 
ing you, not if you were the last man on earth. 
And now take your old bracelet and get right 
out of here. I don't need bracelets that bad." 

"I don't think you understand, Janice," said 
Cleveland Brown. 

"You just bet I understand. And let me 
tell you, I wouldn't marry any man in this 
world that didn't love me with everything in 
him, and want me with every drop of blood in 
his body, and think it was the greatest honor 
and glory and delight on earth to win me. 

"I'm not afraid of love. I don't think love 
is something unclean, or sorrowful, or unfaith- 
ful, like you do. I think it's the noblest, most 
beautiful, most wonderful gift God gave to 
man. 

" I'm not afraid of marriage. It isn't a small, 
mean, ridiculous thing to make cheap jokes 
about. It's the highest joy that can happen to 
anyone — a beautiful marriage. It's what all 
these people are seeking, in their poor, blind 
way — a perfect, faithful, complete union. 

"Why — the marriage vow is the greatest 
poetry that's ever been written — and we can 



live it. We can live it, as they used to live it, 
if we don't let ourselves get caught in the rotten 
and cheap things people say and think about it. 

"But the man I marry is going to come to 
me first, and he's going to tell me that he loves 
me and that I'm the end of every dream and 
the beginning of every reality to him. And 
then — then I'm going to cast everything else 
away, and follow him. 

"So — you know how I feel. You've fulfilled 
your obligations and eased your conscience and 
you can go. I'll tell mother and Anabelle and 
the whole world you asked me and that I 
wouldn't marry you — if you were the 
President." 

Quite deliberately, though she was very 
white, she took the bracelet from her wrist and 
handed it to him. 

Her eyes had a high, bright look, and she 
held her head as a standard bearer carries his 
flag. 

He took the bracelet and turned to go. 

And he had dared to think she might love 
him, such an ordinary, prosaic mortal. He had 
let himself be dazzled and blinded by things 
that didn't matter and he had lost his pearl of 
great price. Fear — fear — a little, cheap fear of 
unhappiness or of trouble or of the hard spots 
along the road, had tricked and cheated him. 
There had been no big, splendid vision within 
to show him that love is always worth while, no 
matter what rough seas it must steer, no matter 
where it ends, or how. Because he had been so 
close to the hectic, cheap, abnormal loves of 
Hollywood, so surrounded by its cutting wit 
and its easy passion, his feet had missed the 
path. 

He was very unhappy, because he had been 
so rudely awakened from his new dream that 
had almost come true. 

And as he put his hand upon the door, he 
looked back. He couldn't help it. He loved 
her very much. 

What he saw in her face brought him around 
swiftly. 

Her pride had gone, her anger had gone, with 
his going. She was only a girl, standing upon 
the grave of high hopes and saying good-by to 
the man she was too proud to take except he 
desired her as greatly. 

Her chin trembled a little and in her eyes was 
a look that gave Cleveland Brown back the 
courage and the daring and the boldness he had 
won from Paula Swayne and lost upon her 
doorstep. 

"I do love you, Janice," he said hotly. "I 
didn't know it, but I've always loved you. 
Only I'm such a fool I had to go and find out 
what love wasn't, first. I love you — oh, so 
much." 

"You mean — you really love me?" she said 
humbly. 

"I love you better than anything else in the 
whole, wide world, and I'd walk right through 
hell to get you." 

He kissed her. 

And he knew, even with that first kiss, that 
the passion of Leda O'Neil had been a tinsel 
fire that burned but did not warm, beside the 
passion that lay behind Janice Reed's cool, 
young lips. That the merriment of Ray 
Connable had been the merest rickery of the 
vaudeville clown, beside the joyousness of 
Janice's high heart. And that the motherhood 
in fanice's soul need feel no shame-before that 
of Gertie Morrison herself. 

For with that kiss he knew that he had found 
his woman. 

HE telephoned to Paula Swayne much later. 
"It worked," he said. 

"So? I shall paint you a portrait of Janice 
for a wedding present." 

"You knew it would be Janice?" 

"But of course. Nature — that great artist 
Nature — always governs the process of selec- 
tion, if we but let her. You will have w onderful 
babies. And so you are not afraid any more? " 

"No," said Cleveland Brown, from the 
depths of a re-born soul within him, "I'm not 
afraid of anything in this world any more." 



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Close'Ups and Long Shots 

[ CONTINUED FROM PAGE 42 ] 

THERE is more talk of moving studio opera- 
tions to New York. An executive, explain- 
ing the reason for such a move to Conway 
Tearle, said, "When a man back in New York 
has three million dollars tied up in productions 
he naturally likes to see what is going on." 

"That may be," replied Tearle, "but I have 
never heard of John D. Rockefeller coming out 
here to peer down his oil wells." 

MONTE BLUE was telling me of the most 
awful experience of his life. 

It was his first trip to New York and his first 
tea party. He was entertaining two ladies of 
the press at the Biltmore hotel. With the 
semblance of social ease that masked a heavy 
heart Monte took a firm hold of his tea cup and 
sipped daintily. Everything was running 
smoothly according to the Book of Etiquette 
until he replaced the cup in the saucer and 
found to his horror that he couldn't get his 
finger out of the handle. He toyed and tugged 
to no avail, all the while chatting merrily, with 
beads of perspiration mobilizing on his brow. 
Finally, when the ladies happened to glance in 
another direction, he slipped the cup under the 
table and broke off the handle. With the aid 
of a napkin he then sneaked the dismembered 
article back on to the table. 

"It was the closest call I ever had in my 
life," declares Monte, who to this day trembles 
and perspires at the recollection. 

SINCE a number of the ladies of Hollywood 
have had their noses straightened with 
beautifying results, Bull Montana is thinking 
of having his cauliflower ears done over, at 
least for summer wear, replacing the heavy up- 
holstered effect with something chintzy and 
gossamer. 

GREAT ceremony attended the taking over 
of the Goldwyn studio by Louis B. Mayer 
and his staff, following the merger of the 
Metro, Mayer and Goldwyn interests. The 
chief of police, the mayor of Los Angeles, three 
hundred marines and representatives of the 
army were there in martial array while ten air- 
planes circled overhead. I don't know why, 
unless it was feared the departing officials 
might lug off the Goldwyn lion or Eric Von 
Stroheim. 

Will Rogers acted as toastmaster and general 
cheer leader. He said optimistically, "Well, 
one thing's sure, the new bunch can't make any 
worse pictures than the old crowd did." 



The "Open-Minded" 
Censor 

WHILE on a personal appearance tour 
Walter Hiers had the honor of meeting 
several well known and much cussed and dis- 
cussed censors. According to Walter and his 
conversation with these jovial gentlemen, they 
claim that they have become more lenient 
toward photoplays recently because they are — 
now, get this — learning that actors and 
actresses as a rule are decent, home-loving 
people instead of the wild colonists they are 
painted by some of the yellow newspapers and 
journals. 

"Two years ago," explained one of the 
censors, "we were making severe cuts in 
pictures because we entered a theater in a 
frame of mind not at all favorable toward the 
actors. Personally, I reviewed many a picture 
just after reading stories maligning the stars, 
and I would cut out scenes that were the least 
bit questionable. Now, with the question of 
the various players' reputations cleared, I go 
into a theater more open-minded." 

Doesn't a statement like that hand you an 
awful chortle? Especially when you think of 
"A Woman of Paris" and the Ohio state board. 



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Casts of Current Photoplays 

Complete for every picture reviewed in this issue 



"DOROTHY VERNON OF HADDON 

HALL" — United Artists. — Story by Charles 
Major. Adapted by Waldemar Young. 
Directed by Marshall Neilan. The cast: 
Dorothy Vernon, Mary Pickford; Sir George 
Vernon, Anders Randolf; Sir Malcolm Vernon, 
Marc McDermott; Lady Vernon, Mme. 
Daumery; Sir John Manners, Allan Forrest; 
Etirl of Rutland, Wilfred Lucas; Queen Eliza- 
beth, Clare Eames; Mary, Queen of Scots, 
Estellc Taylor; Earl of Leicester, Courtenay 
Foote; Jennie Faxlon, Lottie Pickford Forrest; 
Dawson, Colin Kenny. 

" CYTHEREA"— First National.— Story 
by Joseph Hergesheimer. Scenario by Frances 
Marion. Directed by George Fitzmaurice. 
The cast: Fanny Randon, Irene Rich; Lee 
Randon, Lewis Stone; Peyton Morris, Norman 
Kerry; Claire Morris, Betty Bouton; Savina 
Grove, Alma Rubens; William Grove, Charles 
Wellesley; Mina, Constance Bennett; Randon 
Children, Peaches Jackson, Mickey Moore. 

"THE GOLDFISH"— First National.— 
Adapted from the stage play, "The Goldfish." 
Directed by Jerome Storm. The cast: Jennie 
Wetherby, Constance Talmadge; Jimmy Weth- 
erby, Jack Mulhall; Duke of Middlesex, Frank 
Elliott; Herman Krauss, Jean Hersholt; Amelia 
Pugsley, ZaSu Pitts; Count Nevski, Edward 
Connelly; /. Hamilton Powers, William 
Conklin; Casmir, Leo White; Ellen, Nellie 
Baker. 

"THE REJECTED WOMAN" — Dis- 
tinctive. — Story by John Lynch. Directed by 
Albert Parker. Photography by Roy Hunt. 
The cast: Diane DuPrez, Alma Rubens; John 
Leslie, Conrad Nagel; James Dunbar, Wynd- 
ham Standing; Samuel DuPrez, George Mac- 
Quarrie; Jean Gagnon, Bela Lugosi; Craig 
Burnett, Antonio D'Algy; Lucille Van Tuyl, 
Leonora Hughes; Madame Rosa, Mme. 
LaViolette; Peter Leslie, Aubrey Smith; Leyton 
Carter, Fred Burton. 

"THE LONE WOLF" — Paramount. — 
Story by Louis Joseph Vance. Scenario by S. 
E. V. Taylor. Directed by S. E. V. Taylor. 
The cast: Lucy Shannon, Dorothy Dal ton; 
Michael Lanyard, Jack Holt; William Bur- 
roughs, Wilton Lackaye; Bannon, Tyrone 
Power; Clare Hcnshaw, Charlotte Walker; 
Annette Dupre, Lucy Fox; Popinot, Edouard 
Durant; Solon, Robert T. Haines; Wertheimer, 
Gustav Von Seyffertitz; Eckstrom, Alphonse 
Ethier; U. S. Ambassador, William Tooker; 
Count de Morbihan, Paul McAllister. 

"MEN" — Paramount. — Story by Dimitri 
Buchowetzki. Scenario by Paul Bern. Di- 
rected by Dimitri Buchowetzki. Photography 
by Alvin Wyckoff. The cast: Cleo, Pola 
Negri; Georges Kleber, Robert W. Frazer; Henri 
Duval, Robert Edeson; Cleo's Father, Joseph 
Swickard; Francois, Monti Collins; The 
Stranger, Gino Corrado; The Baron, Edgar 
Norton. 

"THE DANGER LINE"— F. B. O— Story 
by Claude Farrere. Adapted by Margaret 
Turnbull. Directed by E. E. Violet. Photog- 
raphy by Asselin, Dubais and Quintin. The 
cast: Marquis Vorisaka, Sessue Hayakawa; 
Marquise Vorisaka, Tsuri Aoki; Mrs Hockey, 
Ginn Palerme; Miss Vane, Cady Winter; 
Captain Herbert Fcrgan, Felix Ford. 

"SHERLOCK, JR."— Metro. — Story by 

Clyde Bruckman, Jean Havez, Joe Mitchell. 

Directed by Buster Keaton. Photography by 

j Byron Houck and Elgin Lessley. The cast: 

! Buster Keaton. Jane Connelly, Kathryn 



McGuire, Erwin Connelly, Ward Crane, Ford 
West, Joseph Keaton, George Davis, Horace 
Morgan, John Patrick, Ruth Holley. 

"THE WOMAN WHO SINNED"— F. B. 
O. — Story by Finis Fox. Directed by Finis 
Fox. Photography by Hal Mohr and Jean 
Smith. The cast: A Wall Street Operator, 
Morgan Wallace; His Wife, Irene Rich; A 
Minister, Lucien Littlefield; His Wife, Mae 
Busch; Their Son, Dicky Brandon; An Evan- 
gelist, Rex Lease; A Queen of Burlesque, Cissy 
Fitzgerald; Mitzi, Ethel Teare; Tutu, Hank 
Mann. 

"UNTAMED YOUTH"— F. B. O.— From 
the play by G. Marion Burton. Adapted by 
Beehan and Stillson. Directed by Emile 
Chautard. Photography by J. A. Dubray. 
The cast: Marcheta, Derelys Perdue; Robert 
Ardis, Lloyd Hughes; Joe Ardis, Ralph Lewis; 
Emily Ardis, Emily Fitzroy; Pictro, Joseph 
Swickard; Rev. Loranger, Joseph Dowling; Jim 
Larson, Tom O'Brien; Ralph, Micky McBarr. 

"THE TROUBLE SHOOTER" — Fox. — 
Story and scenario by Frederick and Fanny 
Hatton. Directed by John Conway. The 
cast: Tom Steele, Tom Mix; Nancy Brewster, 
Kathleen Key; Francis Earle, Earl Fox; Pete 
Highley, J. Gunnis Davis; Jim Howe, Howard 
Truesdale; Benjamin Brewster, Frank Currier; 
Chcl Connors, Mike Donlin; Chiquita, Dolores 
Rousse; Scotty McTavish, Charles McHugh; 
Stephen Kirby, Al Fremont. 

"A GIRL OF THE LIMBERLOST"— 
F. B. O. — Story by Gene Stratton-Porter. 
Directed by James Leo Meehan. The cast: 
Elnora Comstock, Gloria Grey; Kate Comslock, 
her mother, Emily Fitzroy; Robert Comslock, her 
father, Arthur Currier; Philip Amnion, Ray- 
mond McKee; Philip Amnion, Sr., Arthur 
Millet; Hart Henderson, Cullen Landis; Edith 
Carr, Gertrude Olmstead; Wesley Sinton, 
Alfred Allen; Margaret Sinton, Virginia Board- 
man; Elvira Carney, Myrtle Vane; Freckles, 
Jack Daugherty; Freckles' Wife, Ruth Stone- 
house; Freckles' Baby, Baby "Pat" O'Mallev; 
Billy, aged 5 years, Buck Black; Billy, aged q 
years, Newton Hall; The Bird-Woman, Lisamae 
Grey. 

"LISTEN LESTER"— F. B. O— From 
the stage play by George E. Stoddard, Harry 
L. Cort and Harold Orlob. Directed by 
William A. Seiter. The cast: Listen Lester, 
Harry Myers; Arbutus Quilty, Louise Fazenda; 
Col. Dodge, Alec Francis; 'Mary Dodge, Eva 
Novak; Jack Griffin, George O'Hara; W. Penn, 
Lee Moran; Miss Pink, Dot Farley. 

"BLUFF"— Paramount.— Story by Rita 
Weiman and Josephine L. Quirk. Screen play 
by Willis Goldbeck. Directed by Sam Wood. 
The cast: Betty Hallowcll, Agnes Ayres; Robert 
Fitzmaurice, Antonio Moreno; Norton Conroy, 
E. H. Calvert; Waldo Blakely, Clarence 
Burton; Mr. Kitchell, Fred Butler; Dr. Curtiss, 
Jack Gardner; Fifine, Pauline Parquette; Jack 
HalloweU, Roscoe Karns; Algy Henderson, 
Arthur Hoyt. 

"THE CHECHAHCOS" — Associated 
Exhibitors. — Written by Lewis H. Moomaw. 
Directed by Lewis H. Moomaw. The cast: 
"Horseshoe" Riley, William Dills; Bob Dexter, 
Albert Van Antwerp; Mrs. Stanlaw, Eva 
Gordon; Prof. Stanlaw, Howard Webster; 
Richard "Cold" Steele, Alexis B. Luce; Baby 
Stanlaw, Baby Margie; Ruth Stanlaw, Gladys 
Johnston; Pierre, Guerney Hays; Engineer. H. 
Miles. 



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"FORTY-HORSE HAWKINS" — Uni- 
versal. — Story by Edward Sedgwick and R. 
I. Schrock. Directed by Edward Sedgwick. 
The cast: Bud Hawkins, Hoot Gibson; Mary 
Darling, Anne Cornwall; Rudolph Catalina, 
Richard Tucker; Sylvia Dean, Helen Holmes; 
Johnny, Jack Gordon Edwards; Sheriff, Ed 
Burns; Stage Manager, Edward Sedgwick. 

"MLLE. MIDXTGHT"— Metro.— Story 
by John Russell and Carl Harbaugh. Directed 
by Robert Z. Leonard. Photography by 
Oliver T. Marsh. The cast: Prologue — Renee 
De Gontran, Mac Murray; Colonel de Gonlran. 
John Sainpolis; Napoleon III, Paul Weigel; 
Eugenie, Clarissa Selwynnc; Maximilian, Earl 
Schenck; Due de Moing, J. Farrell Mac- 
Donald. Story — Renee De Quiros, Mae 
Murray; Owen Burke, Monte Blue; Joao, a 
bandit, Robert McKim; Don Pedro de Quiros. 
Robert Edeson; Don Jose de Quiros, Nick de 
Ruiz; Dr. Sanchez, Nigel de Brulier; Carlos de 
Quiros, Johnny Arthur; Padre Francisco, Otis 
Harlan; Chiquita, a maid, Evelyn Selbie; 
Duenna, Mme. Nellie Comont. 

"RIDERS UP"— Universal— Story by 
Gerald Beaumont. Scenario by Monte Brice 
Directed by Irving Cummings. The cast : John 
(Information Kid), Crcighton Hale; Henry, the [ 
Rat, George Cooper; General Jeff, Robert i 
Brower; The Fiddlin' Doll, Ethel Shannon; 
Kid's Mother, Edith Yorke; Kid's Sister, Char- 
lotte Stevens; Cross-Eyed Negro, Harry Tracey. 

"THE CIRCUS COWBOY"— Fox— Story 
by Louis Sherwin. Scenario by Doty Hobart. 
Directed by William Wellman. The cast 
Buck Saxton, Charles Jones; Bird Taylor. 
Marian NLxon; Ezra Bagley, Jack McDonald; 
Norma Wallace, Marguerite Clayton; Slovini 
George Romain. 

"THE TELEPHONE GIRL"— F. B. 0.— 
Story by H. C. Witwer. Adapted by George 
Marion, Jr. Directed by Mai St. Clair. 
Photography by Lee Garmes. The cast: 
Gladys, Alberta Vaughn; Hazel, Gertrude 
Short; Jerry, Albert Cooke; Jimmy, Kit Guard; 
Tower, Douglas Gerrard. 

"RIDGEWAY OF MONTANA"— Uni- 
versal.— Story by MacLeod Raine. Scenario 
by E. R. Schayer. Directed by Griffith Smith. 
Photography by Harry Neumann. The cast: 
Buck Ridgeway, Jack Hoxie; Aline Hanley, 
Olive Hasbrouck; Simon Hanley, Herbert 
Fortier; Steve Pelton, Lou Meehan; Rev. 
\h Xabb, C. E. Thurston; Pete Shagmirc, Pat 
Harmon. 

"THE DANGEROUS BLONDE" — Uni- 
versal. — From the story by Hulbert Footner. 
Adapted by Hugh Hoffman. Directed by 
Robert F. Hill. Photography by Jackson Rose. 
The cast: Diana Faraday, Laura La Plante; 
Royall Randall, Edward Hearn; Mr. Faraday, 
Arthur Hoyt; Gerald Skinner, Philo McCul- 
lough; Henry, Rolfe Sedan; Yvette, Eve 
Southern; Mrs. Faraday, Margaret Campbell; 
The Cop, Dick Sutherland; Roger, Frederick 
Cole. 



"DARING YOUTH "—Principal.— Story 
by Dorothy Farnum. Scenario by Alexander 
Neal. Directed by William Beaudine. Photog- 
raphy by Charles Van Enger. The cast: Miss 
Alita Allen, Bebe Daniels; John J. Campbell, 
Norman Kerry; Arthur James, Lee Moran; 
Winston Howell, Arthur Hoyt; Mrs. Allen, 
Lillian Langdon; Mr. Allen, George Pearce. 

"WANTED BY THE LAW"— Aywon — 
Story by Robert North Bradbury. Directed 
by Robert North Bradbury. The cast: Jim 
Lorraine, J. B. Warner; Bill Baxter, J. Morley; 
Bush McGraw, Bill McCallj'/erry Hawkins, 
Frank Rice; Hart Matlock, Tom Lingham; 
Jessie Walton, Dorothy Walton; Sandy Walton. 
T- Hunt; Mrs. Lorraine. Billie Bennett. 



123 



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Photoplay Magazine — Advertising Section 



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Mae Murray 

[ CONTINUED FROM PAGE 43 ] 

in the game. Her sport clothes were white, 
that was the thing. A glowing sort of white, 
under a jacquette of white Persian lamb, and 
her yellow hair gleamed gloriously against an 
audacious white silk sport hat with some sort 
of a motor veil draped over it. She was a 
picture that took your eye because she was so 
different. 

On the golf links at Del Monte. She is 
quietly attentive to her game. She wears tan 
linen knickers and a gay sleeveless sweater and 
a white knit sport hat. Her woolen stockings 
and her white sport shoes cannot hide the 
shapeliness of her; otherwise they are com- 
monplace enough. Only — somehow her sport 
garb doesn't give her the faintest hint of boy- 
ishness or masculinity, or even the usual look 
of sporting form. She is as eternally feminine 
as she would be in a negligee in a rose-colored 
boudoir. 

She has that precious instinct for dramatiz- 
ing herself, her personality, her beauty, and it 
is second nature to her, that's all. 

Why, she showed it the very first time any- 
body ever heard of her, when she went on in a 
Ziegfeld chorus as the Nell Brinkley Girl. 
What could she have chosen that would stand 
out, that would lend itself to exaggeration and 
striking effects, as well as the Nell Brinkley 
Girl? 

It was an inspiration of dramatic sense. 

Incidentally, don't forget that Mae Murray 
continues to be one of the real, outstanding, 
consistent successes among the stars. That 
court of last appeal, the Box Office, reminds us 
that, while other people may have talked more 
about their pictures, they haven't necessarily 
sold more of them. Her pictures always make 
good money for herself and for the exhibitor. 
She is increasingly popular and, what every 
exhibitor will tell you is the most valuable 
thing of all, she is consistent and always pro- 
ducing. Her fan mail is enormous. Since 
she made "To Have and To Hold" for Famous 
Players-Lasky years ago, opposite Wallace 
Reid, she has never had a box office failure. 

I wanted to ask her about herself, so she 
invited me to lunch. It was a warm day. 

A Japanese butler let me in — a perspiring 
and exhausted luncheon guest indeed. 

The moment I sat down in that big, high- 
ceilinged room, I felt cooler. The air of space 
and formality, the profusion of green ferns and 
soft flowers, the veiled windows, lowered my 
temperature ten degrees. 

And when Mae Murray came in, I felt posi- 
tively ashamed that I had let the heat affect 
my appearance and my disposition. She 
looked so cool and dainty and collected — so 
completely mistress of herself, the weather, 
the situation — any situation. That is one of 
her outstanding characteristics — that serene 
and cheerful poise. 

She had on a short coat of braided red silk; 
over a straight white frock, and she wore a hat 
of white braided silk. And, oddly enough, 
considering the costumes that she has worn 
upon the screen, Mae Murray suggests an 
almost prudish modesty. 

And yet — 

"I think," she told me once, "I could do 
anything that a part required without any 
sense of indecency or embarrassment, but I 
should die of mortification if I lost my petti- 
coat in the lobby of the Ritz." 

Then we talked about clothes and some of 
the people we know and she told me one amus- 
ing little story that I wish I could tell you, 
because it showed me a sense of humor I was 
not sure she possessed. And then her husband 
came in. He, too, is one of her contrasts — an 
enormous man, with a vivid, hearty, genial 
personality. Beside him, she looks like a 
French doll. 

Oh, she's a unique study in contradictions, 
is Mae Murray! 




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Photoplay Magazine — Advertising Section 



I2 5 




RALPH BARTON, whose work deco- 
rates Photoplay every month, has 
drawn and written a book that should not 
be read by any chronic grouch unless he 
is ready to change his habits and laugh. 
It's called "Science in Rhyme Without 
Reason." At that, there is a lot more 
sense to it than hundreds of the half- 
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flooding the market, and it's a darned 
sight easier to read. You'll get your 



money's worth if you like to laugh. If 
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read the last line. 

Here is one of these highly scientific 
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Astronomy 



Astronomy (from astron, star, 

And nemo, to arrange) 
Examines what is passing far 

And more than passing strange. 

It deals with Martian polar frost. 

And inter-stellar space, 
And wonders why the moon has lost 

The sets from out its face. 



Astronomers of gentle mien 

Can give particulars 
About the distances between 

Three thousand million stars. 

But, if you asked the distance to 
The nearest movie-show, 

It's likely one would answer you: 
"I really do not know." 



The Shadow Stage 

[ CONTINUED FROM PAGE 47] 



THE CIRCUS COWBOY— Fox 

ENTER Louis Sherwin — erstwhile dramatic 
critic, now a scenario writer, presenting none 
other than Charles Jones. Now you either are 
a Charles Jones devotee or you consider him 
less than the dust, so you will have to judge for 
yourself. At any rate everybody enjoys a 
circus, and this particular circus takes us away 
from the usual Western story. Jones certainly 
rides like a streak, and inasmuch as this is an 
improvement on the average Western, being 
neatly contrived, it is worthwhile. 



THE TELEPHONE GIRL— Film 
Booking Offices 

THIS one is called "The Square Sex." The 
story is crazier than the title, but both, 
happily, are forgotten in the constant expecta- 
tion that something funny will happen, though 
very little does. Nevertheless, one laughs un- 
con>ciously at the foolishness, which is what 
the picture was made for. It is far better to 
mi-s this picture than to miss your dinner. 



RIDGEWAY OF MONTANA— Universal 

TTttS is a typical Western, with the stereo- 
*■ typed hero and equally stereotyped villain, 
but for variety there is a flappish leading 
woman in the attractive person of Olive 
Hasbrouck. Hoxie rides a mean steed, and no 
one can fail to take pleasure in his equestrian- 
ship. . 



THE DANGEROUS BLONDE— 
Universal 

r PHE second starring vehicle of Laura La 
•*- Plante has speed as its chief attribute. A 
beautiful daughter rescues silly love letters 
written by a foolish father to a vamp. Foot- 
ball hero aids in getting letters and placating 
battleship wife. Lots of action, some fun and 
plenty of love-making in which Miss La Plante 
is bewitching instead of dangerous. Picture is 
of champagne class — light and bubbly, with a 
headache if taken seriously. 



DARING YOUTH— Principal 

A LITTLE bit racy with its modern heroine 
■**-and advanced ideas on love and marriage. 
It's a farce, and well enough done with a 
popular cast headed by Bebe Daniels and 
Norman Kerry. Bebe, as you know, is getting 
bigger and better all the time. If you are not 
too squeamish you'll find this good entertain- 
ment of a fair order. 



WANTED BY THE LAW— Aywon 

T B. WARNER makes Sydney Carton look 
J 'like a second-rater when it comes to chivalry. 
But then you know what these Western men 
are. The open spaces make them too noble 
for words. Here is a plethora of shooting, 
riding, cliff climbing and the like — in fact it pos- 
sesses all the tried and true methods of 
Western drama. Neither worse nor better 
than hundreds of others. 




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26 



Photoplay Magazine — Advertising Section 



CLASSIFIED ADVERTISING 

Rate 35cts. per word. 
FORMS FOR SEPTEMBER ISSUE CLOSE JULY TENTH 



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The Romantic History of 
the Motion Picture 

[ CONTINUED FROM PAGE 71 ] 

They were Tucker, Herbert Brenon, King 
Baggot, Jack Cohn and Bob Daly. 

Luck played into their hands. Julius Stern, 
the Imp studio manager, was called away to 
Europe to settle a dispute between Baggot and 
Brenon, who had been sent to England to 
make "Ivanhoe." Stern was connected with 
Laemmle by family ties and he was the watch- 
dog of the administration at the studio. In his 
absence, Mark M. Dintenfass, owner of the 
Champion brand pictures on the Universal 
program, was brought across the river from 
New Jersey to take charge of the Imp studio. 
Now, as has been indicated in early chapters, 
Dintenfass^ was up to his ears and sometimes 
over them in the internal wars of Universal and 
the battles at 1600 Broadway. 

Tuckers "Traffic in Souls" Is 
Filmed 

While Dintenfass was busy concentrating his 
attention on the affairs of the Powers-Laemmle 
war, the boys at the studio were merrily en- 
gaged in photographing "Traffic in Souls," a 
scene at a time in odd moments when oppor- 
tunity permitted, keeping up meanwhile the 
continuous grind of one and two-reel pictures. 
"Traffic in Souls" was cast by Jack Cohn and 
directed by Tucker. 

In four weeks the picture was photographed. 
It was ten reels long, without titles. By this 
time Dintenfass had begun to spare more atten- 
tion to the studio, resulting among other things 
in altercations with Tucker, who quit and went 
to the London Film Company in England. 

Meanwhile Universal was unaware of the 
existence of the ten-reel negative. Tucker 
sailed with a final admonition shouted at Cohn 
at the steamer dock not to cut the picture 
below seven reels in length. 

Cohn was left alone with the ten reel^ of 
negative and Laemmle to face. He hid the 
negative in the bottom drawer of his safe and 
worked on it secretly at night with the door 
locked. In a month he had it in six reels, in- 
cluding titles. 

The day had arrived for the showdown. 
Cohn swallowed the lump in his throat, loaded 
the film into a taxicab and headed for 1600 
Broadway. 

The home office viewing committee was 
called together and filed into the projection 
room to look at "Tucker's Folly." But the 
home office was all agog with the latest shower 
of bricks in the Powers-Laemmle fight. Carl 
Laemmle and one of his lieutenants sat through 
the picture in angry whispered discourse about 
their new line of action. 

Cohn left downhearted. It looked as though 
he was going to be liable for his share of the 
guaranty of the five underwriting plotters of 
the project. It also looked veiy much like he 
was going to be the goat in a most dismal 
failure. 

Late that night Cohn reached the despera- 
tion of a decision. He had to put this thing 
through. In the middle of the night he went 
to Laemmle's residence and aroused him. 

"I've come about 'Traffic in Souls.' You 
talked all through the picture and you didn't 
see it. Nobody can look at a picture and talk 
business all the time. Won't you come down 
now and really see it? " 

Laemmle promised to see it the next night. 



Laemmle Approves 
Souls" 



'Traffic 



in 



The film fared better on its next showing. It 
was admitted to be a picture. But there was a 
big question as to what might be done with it. 
The Universal program was made up of one and 
two-reel subjects. This was a six-reeler. No 
motion picture theater of the day considered 



Photoplay Magazine— Advertising Section 



mi. h a monstrosity. The few long pictures that 
had been shown before, such as the "Fall of 
Troy," "Quo Vadis?" "Queen Elizabeth" and 
the like had gone into legitimate theaters and 
town opera houses. The situation was further 
complicated by the internal politics of Uni- 
versal. The opponents of Laemmle were 
charging him with having squandered the 
company's money on a fool director's fool idea. 
Investigation proved that "Traffic in Souls" 
had cost $5,700. 

It became the text of a violent meeting of the 
board of directors. 

"All right, I'll take the picture off the com- 
pany's hands and pay $10,000 for it," Laemmle 
shouted. 

Then came a lull, a whispering in conference. 
Dire suspicion arose in the opposition. 

"If you'll put up ten thousand it must be 
worth a million." taunted the opposition, cry- 
ing a bid of $25,000. 

This of course resulted in the picture remain- 
ing the property of the Universal. 

Reaching for a channel of distribution, a rep- 
resentative of the Shubert theater system was 
called in to see the production. The Shuberts 
bought a third interest in the picture for 
$33,000 and took on its exploitation. 

Universal now had a profit of $27,300 on an 
investment of $5,700, and retained a two-third 
interest in the production. 

"Traffic in Souls" opened at Joe Weber's 
theater on Monday afternoon, November 24, 
1913. The announcing advertisement read: 
TRAFFIC IN SOULS.— The sensation- 
al motion picture dramatization based on 
the Rockefeller White Slavery Report and 
on the investigation of the Vice Trust by 
District Attorney Whitman — A $200,000 
spectacle in 700 scenes with 800 players, 
showing the traps cunningly laid for young 
girls by vice agents — Don't miss the most 
thrilling scene ever staged, the smashing of 
the Vice Trust. 

Tucker's Picture a Big Success 

The picture played to thirty thousand spec- 
tators in the first week. There were four show- 
ings daily and five on Sunday. The admission 
price was a flat 25 cents all over the house. In 
a short time the picture was playing a total of 
twenty-eight theaters in Greater New York. 
Its gross receipts totaled approximately 
8450,000. 

The cast included Jane Gail, Matt Moore, 
Ethel Grandin, William Welsh, Howard 
Crampton, William Turner, Arthur Flunter 
and Laura Huntley. 

Some curious incidental results grew out of 
the fame that came to some of those concerned 
in the making of "Traffic in Souls." In his 
desperate editorial struggles to reduce the foot- 
age of the film, Jack Colin discovered that he 
had credited the authorship of the picture to 
Tucker and McNamara, while Tucker was also 
mentioned on the main title as the director. 
Walter McNamara had. it is true, collaborated 
somewhat with Tucker and Cohn in the making 
of the story, as many others had, but his name 
was inserted by Cohn chiefly because he wanted 
to dignify the production with an authorship. 
Now gunning for footage, Cohn eliminated 
Tucker's name from the titles as co-author and 
thereby handed that glory exclusively to the 
unsuspecting McNamara. This saved three 
feet of film, or about two and three-quarters 
seconds of screen time. It also made 
McNamara immediately famous and in wide 
demand as a writer of scenarios. 

A Tidal Wave of "White Slave" 

Films 

George Loane Tucker, meanwhile, was in 
England with the London Film Company. He 
never saw "Traffic in Souls" in its completed 
form on the screen, although its astonishing 
success contributed considerably to his career. 
By the time he returned to the United States it 
was off the screen, and never to the day of his 
death some years later did opportunity present 
itself for him to screen it. 



A vast wave of contemporary and ensuing 
white slave pit tures -wept the screen. "The 
Inside of the White Slave Traffic,'' produced by 
a series of concerns built around the promo- 
tional activities of Samuel H. London, a former 
government investigator, was presented at the 
Park Theater in Columbus Circle, New York, 
December 8, 1913. It became the focus of vast 
debate and considerable police action and 
various kinds of litigation which helped to 
establish various precedents for the motion 
picture. 

This picture carried the advertised endorse- 
ment of Mrs. O. II. P. Belmont, Mrs. Carrie 
Chapman Catt. Mrs. Inez Milholland Bois- 
sevain, and Frederick H. Robinson, President 
of the Sociological Fund, Medical Review of 
Reviews. 

Here was the beginning of the testimonial 
and endorsement method of motion picture 
exploitation, an application to the screen of the 
method that has never failed in the patent 
medicine field. Building on this beginning, 
press agents now seek to invade the White 
House with their productions for presidential 
testimonials, show them for charity at func- 
tions where the screen titles can be associated 
with the glamour of the names of the elect, 
select and wealthy, or at manufactured 
functions held in the sacred ballroom of the 
Ritz-Carlton — anything to rub the film can 
with the borrowed garlic of glory. 

The End of One-Reel Drama 

The stage presentation of "Damaged Goods" 
by Brieux, technically the best of the plays on 
the vice curse theme, opened at the Grand 
Theater in New York, December 21, 1913, with 
Richard Bennett in the leading role. This play 
became the vehicle of the last important 
motion picture of this type, issued by the 
American Film Company through the Mutual 
Film Corporation in the autumn of 1915. 
Richard Bennett appeared also in this screen 
version of "Damaged Goods." It was a pro- 
nounced success. Made at a cost of about 
$40,000 for the negative and the promotional 
opening at a Broadway theater, including 
prayer and a lecture on social diseases, it 
brought in a gross of $600,000. 

In the two years that had passed since 
"Traffic in Souls," the nickelodeon market for 
one-reelers had begun to give way to the 
motion picture theater as we know it today. 
There were more customers for "Damaged 
Goods." Its success brought a final wave of 
imitations in the fringes of the state's right 
market, but the theme was exhausted. 

The public's interest in sex had passed to new 
texts. Vice was going out of fashion in parlor 
discussion and birth control was taking its 
place, in parlor and screen, only to yield during 
the excitements of the war period to psycho- 
analysis and to the new assertiveness of youth 
and the now continuing discussions of bobbed 
hair, the flapper and her friends, with such 
screen derivatives as "Flaming Youth," etc., 
etc. The whole sequence being the while 
merely successive excuses for the fondling of 
the same subject. 

One Story That Is Always 
"Sure Fire" 

All this evolution has helped the motion 
picture to grasp the ultimate fact that there is 
only one story that will get the money at the 
box office every time. For verification turn to 
the motion picture announcement columns of 
any newspaper any day. 

When Dr. Parkhurst started in the nineties 
the unctuous subject of sex could, with pro- 
priety, be discussed only for medicinal and 
scientific social purposes. To enjoy sex fully it 
was necessary to be either an unmitigated 
reformer or an unrepentant and utterly lost 
soul. Now by the generosity of an evolution in 
which the motion picture has aided so mightily, 
sex talk is available to the millions, bedecked 
with a new general sanction. This has un- 
doubtedly reduced the rush to careers of 




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The Muscle Builder 

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Photoplay Magazine — Advertising Section 



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reform on one end and the plunge into vice on 
the other. The middle ground is just as 
pleasant, thanks to the screen's interpretations 
to the multitude. The blue of Puritan pro- 
priety and the scarlet of sin have blended into 
an all-pervading public pink — a peach pink. 

The motion picture's assistance in this is ap- 
preciated in many unsuspected ramifications of 
the social and commercial life of the day. One 
of the largest makers of hosiery and silk under- 
clothes recently pointed out that it was the 
motion picture with its bathing beauties and 
its bedrooms that has made it possible for the 
department stores to make Fifth Avenue, 
Michigan Boulevard and Main Street glad 
with window displays of what Godey's Lady 
Book called "unmentionables." 

While "Traffic in Souls" and its contem- 
porary sensations were widening the way for 
the longer and more pretentious pictures of the 
dawning feature era, the development, which 
began to be conspicuously visible with Adolph 
Zukor's famous players in famous plays idea, 
was now consciously organizing. 

The Dawn of New Business 
Methods 

A new sort of revolutionary evolution was 
about to upset the motion picture industry into 
new orders and alignments. The law of a new 
economic discipline was beginning to work. 
The distribution system which had arisen 
sporadically, disorderly, into a jumble of film 
renters, beginning with the remote day of the 
Miles Brothers' little front room film exchange 
in Turk Street, San Francisco, had been 
whipped into just a semblance of a beginning of 
order in 1907-8 by the Edison licensee system. 
And we have seen in detail how that, in turn, 
was further formed into a clear and orderly 
distribution machine under the lash of 
Jeremiah J. Kennedy with the organization of 
General Film Company in 1910. Each sub- 
sequent competitor was another General Film 
Company in general design. Now in 1914 the 
progressive evolution of the art of the motion 
picture was about to disrupt and reorganize the 
business of the motion picture. The General 
Film Company, with its set release dates, sched- 
ules of locked reel shows and system of selling 
film in bulk as mere merchandise, could survive 
only so long as quality of the product was of no 
consequence. With the inevitable develop- 
ment of favorite players or stars, with the 
growth of pictorial technique and the evolution 
of a language of the screen which could really 
express, it is inescapable that better pictures 
would occur and that there would be a better 
demand for them. The feature picture, so 
slowly arisen, as we have traced it, was that 
expression of the growth of a better screen idea. 
Immediately the old selling method which by 
reason of its routine inelasticity took no 
measure of relative merits between pictures, 
was found destructively inadequate. 

It is probably no mere coincidence that the 
man who was to become the leading exponent 
of the new idea and new order was one of those 
who had most effectively applied the disciplines 
of the General Film Company. 

The Advent of W.W. Hodkinson 

One day in January, 19 14, W. W. Hodkinson 
of Los Angeles, San Francisco and the Pacific 
coast in general, got off the Twentieth Century 
Limited and registered at the Knickerbocker 
Hotel in Times Square, New York. He came 
to stay a few weeks, but the weeks stretched 
into years. 

Just W. W. Hodkinson. He has no nick- 
name. He is probably the only man in the 
motion picture industry who has not. It can 
not be done, if you understand. W. W. 
Hodkinson has been to the motion picture 
industry rather more definitely and exclusively 
an idea, the embodiment of an abstract con- 
ception and thought, not a gloomy, but just a 
brass tacks, fact. 

Hodkinson differs so widely from the typical 
personalities of the motion picture that it is 



even difficult to describe his important place in 
the world of motion picture affairs. For one 
thing he is a fisherman. Mostly the people of 
the motion picture follow other diversions. 

Hodkinson is the kind of a fisherman with a 
large respect for superlative tackle. He is the 
kind of a fisherman who can fish all day trying 
to get one fish, returning with a large inward 
elation if he gets that fish and no disappoint- 
ment visible or invisible if he does not. He 
fishes alone, mostly. 

Although it was not until this year of 1914 
that his name began to appear importantly in 
the annals of the motion picture, his beginnings 
were much earlier, and because of the large 
developments that came through institutions 
of his founding it is important to trace back for 
a way the outlines of the experience that made 
up his background. 

In 1900 Hodkinson was a night telegraph 
operator in the offices of the Denver & Rio 
Grande Railway at Pueblo, Colorado. He had 
come into that post from a job in a signal tower. 
There are two kinds of telegraph operators — 
those who say that Edison was a lucky fellow 
while they never had such a chance, and those 
who plan to go up in the business and some day 
ride the line in a private car. Young Hodkin- 
son had his eye on promotion to chief train dis- 
patcher and an ascending official career. 
Meanwhile he was studying the business of 
railroading and telegraph engineering from the 
textbooks of the International Correspondence 
Schools at Scranton, Pa. 

Then the Gould interests came into control 
of the D. & R. G. and the new regime swept out 
the man higher up to whom Hodkinson looked 
for recognition. 

An Ambitious Seller of Correspond- 
ence School Courses 

Presently Hodkinson left the telegraph office 
and became a correspondence school salesman. 
He seems to have put a large, conscientious 
zeal into his work. He became perhaps quite 
as much a teacher as a salesman. To keep his 
customers sold he labored to make their studies 
intelligible to them. The system worked. In 
1907 Hodkinson was established in Ogden, 
Utah, still representing the I. C. S. and with a 
selling organization built up about him cover- 
ing a wide territory. This year of 1907 was a 
panic year — "stringency" was the Wall Street 
euphemism for it then. Industries shut down 
and there was a national unemployment situa- 
tion, which presently reached the mining be'e 
and Utah. It became hard to sell correspond- 
ence school courses to fit men for better jobs 
when there were no jobs at all. 

Hodkinson redoubled his efforts in vain, and 
set to wondering what might be next. He was 
busy by day trying to sell where there was no 
market, laboring into the night with clumsy- 
handed laborers sweating over correspondence 
school arithmetic and the terrors of long 
division. It was always near midnight when 
he went down to the Ogden postoffice to mail 
the daily report that went back to Scranton, 
Pa. On the floor above the postoffice was a 
dance hall, ever at this hour gay with music and 
the merriment of careless crowds. 

The solemn Hodkinson, gripped in the 
fervors of his work, was given to reflection on 
the discouraging evidence that it apparently 
took no effort to sell dancing and amusement, 
and that it was exceedingly hard to sell self- 
improvement and the I. C. S. His interest 
seems to have been deeper than mere sales- 
manship. 

In this period a carpenter appeared in 
Ogden and gave that city its first motion 
picture theater, "The Dreamland." Then 
competition appeared with '.'The Electric," 
both storeshows typical of the time, simple 
nickelodeons. "The Electric" drew its patron- 
age off the bottom. It was not the sort of place 
where white collar folk felt comfortable. But 
it also drew the youngsters of all classes. One 
of Hodkinson's neighbors with a family of 
children spoke to him often, complaining of the 
pictures and the impressions that the offspring 
brought home. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



i 29 



Hodkinson edged into the theater occasion- 
ally. He found the pictures mostly inferior, 
some sordid and terrible and some vastly in- 
teresting. He had never seen the sea. Pictures 
of the ocean and ships fascinated him. His 
immediate problem was selling and teaching, 
teaching that he might sell and selling that he 
might teach. Somewhere in this motion 
picture thing he sensed a notion of teaching 
possibilities that might carry as well some of 
the lure of amusement that seemed to sell so 
readily at the dance hall. He inquired a bit 
and found that the proprietor of "The Elec- 
tric" was dissatisfied and willing to sell out for 
four hundred dollars. 

Hodkinson Feels the Lure of 
the Movies 

In a few weeks Hodkinson and his neighbor 
acquired the show. They had the house 
mopped up, painted and changed the name to 
"The New Electric — the place that's like 
home," and increased the admission price to 
ten cents. This was revolutionary. Not all of 
Utah had ever heard of a ten cent picture show. 
The motion picture show was as standard at 
five cents as the cigars of the '90s. 

"The New Electric" became a theater with 
a policy, prospering under the sunshine of a 
little attention and an idea. Film service came 
from a typical exchange of the time, the 
Twentieth Century Optiscope Company of 
Chicago, R. G. Bachman, proprietor. 

The policy made special demands that grew 
into a correspondence with the exchange and 
developed an aggressiveness that resulted in 
Hodkinson becoming a branch agent for the 
Chicago concern. He went down to Salt Lake 
looking for customers and made some startling 
discoveries. His films were scorned as old. He 
found that film service depended on age and 
delivery dates and precedence and a lot of 
factors that he had not suspected. He found 
also that there were such curious things as 
"dupes," or pictures made from copied 
negatives, and that the new business had 
evolved whole new categories of new com- 
mercial sins. This was a business, something 
to be studied. Presently came a call from 
Bachman in Chicago, who wanted to leave and 
turn his business over to a manager. He had 
chosen Hodkinson, the man who wrote so many 
letters, for the place. 

Hodkinson Becomes Manager of 
a Film Exchange 

It was the spring of 1908. Hodkinson 
headed East from Ogden with high hopes and a 
brilliant vision of stepping into the magnificent 
headquarters of this interesting business. 
What he stepped into was a typical Chicago 
film exchange of '08. 

The Edison Company, riding high in its 
patent war with the Biograph Company and 
George Kleine, was forming the Edison 
Licensees and seeking to whip the business into 
a sort of order. Frank N. Dyer of the Edison 
Company went to Chicago and called the 
exchangemen in to hear the reading of the riot 
act and the new law of Edison rule. 

There were to be, so Dyer announced, 
definite release dates on pictures, which all 
must obey. There was to be an end of price 
cutting and the stealing of customers. All the 
old unfair cutthroat methods which were the 
standard practice of film exchanges were to be 
abolished. The experience-wise exchangemen 
listened in pious manner and laughed outside. 
But Hodkinson was impressed. He took it at 
par. 

As the new manager of the Twentieth Cen- 
tury Optiscope Company he set about at once 
arranging things on the new order of business. 

"You can not do it that way, because none 
of the other fellows will— I know them." And 
of course Bachman did know them. 

Hodkinson stood out for following the rules 
and prevailed. Bachman went on his trip 
Hodkinson stayed to fight it out alone. 



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If the eventualities of the years had not 
brought him some final vindication his position 
would have been well near pitiable — this slim, 
serious eyed stranger from the sage brush of 
Utah, with his absurd ideals of conscience and 
laws and rules and things like that, thrown in 
among the bickering, scheming, conniving 
sharpsters of the Chicago film trade of 1908. 
He was ripe and due for such a trimming as a 
pacifist might have got at Donnybrook Fair. 

Because of the withering fire of the Kleine- 
Biograph fight, the Edison Licensees system 
could not exert much pressure behind the new 
discipline idea. The rules and release dates 
were broken before they were made — by every- 
one but the Twentieth Century Optiscope 
Company under Hodkinson. 

Hodkinson Receives a Set-back 

In the offices of the Chicago attorneys for the 
Edison interests, Hodkinson was finally told 
one day that "the Edison company needs the 
business and it is not going to cancel anybody's 
license for breaking the rules." 

"Then," observed Hodkinson, "I can go 
ahead and compete with these fellows on their 
own terms." 

"No," came the answer, because the 
Twentieth Century Optiscope Company had 
been slated as an in-bad. 

Some way Hodkinson struggled through the 
situation and meanwhile gave Chicago one of 
its first ten cent motion picture shows, with the 
Lincoln Park Theater. When Bachman re- 
turned to Chicago, Hodkinson bought from 
him the control of the branch in Ogden and 
returned to operate it, now equipped with a 
new knowledge. When 1910 came and the 
Motion Picture Patents Company, with the 
launching of the General Film Company, was 
buying up exchanges to put into effect the dis- 
ciplines that the Edison Licensee system had 
attempted, Hodkinson observed from afar in 
Utah the handwriting across the dawn of 
destiny. He recognized the penmanship as 
that of Jeremiah J. Kennedy of 52 Broadway 
and 10 Fifth Avenue, New York, N. Y. 

Equipped with due authority from his as- 
sociates, Hodkinson came East and reported at 
52 Broadway. He had come to sell. Kennedy 
consulted the little black book of the mystic 
schedule, his Doomsday List, and quoted the 
schedule price for the Ogden exchange. It was 
close to Hodkinson's estimate. They agreed 
and closed the deal. 

Hodkinson Steps Out Into Field 
Work 

For the next three years Hodkinson was a 
field officer of the Kennedy administration of 
the General, covering the territory from 
Denver west to the Pacific. Out there Gen- 
eral's, rules were enforced to the hilt. Also 
Hodkinson applied certain notions of his own 
about maximum returns by classification of 
film service on a quality basis and higher 
prices. He fought for ten cent admissions and 
longer runs, against the old routine of daily 
changes in nickelodeons. Somehow he seems 
to have won for General something like twenty 
per cent of its gross revenue in a territory 
occupied by about ten per cent of the popu- 
lation. 

When J. J. Kennedy parted company with 
the General and went out with his lieutenant, 
Percy Waters, to make war on General with the 
mysteriously licensed Kinetograph Company, 
Hodkinson was asked by the new General ad- 
ministration to go into the South to fight his 
old chief. It looked like a good fight to let 
alone. 

The feature picture was beginning to appear. 
Hodkinson wanted the General to do things 
with it. The thought of General was all for the 
old program idea. 

Presently Hodkinson went back to the 
Pacific coast, secretly financed by Samuel Long 
and Frank Marion of the Kalem Company, to 
launch an independent exchange system under 
the name of Progressive. It seems to have 
been mostly a token of personal confidence and 




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Photoplay Magazine — Advertising Section 



I3i 



interest. The licensed Kalem Company was 
committed with unqualified fervor to the stand- 
pat idea of General Film. 

Hodkinson Seeks Big Pictures 

When January', 1914, came around Hodkin- 
son, who had successfully experimented with 
feature pictures, including those first products 
of Zukor's Famous Players concern, and the 
Lasky pictures, came to New York to look into 
the problem of getting a sufficient supply of 
such pictures to support the new business they 
were creating on the Pacific coast. Slightly in 
advance of Hodkinson came J. D. Williams, 
employed by Hodkinson in a project to market 
the first of the Hobart Bosworth productions, 
Jack London's story "The Sea Wolf." 

Hobart Bosworth, who had begun his screen 
career with Selig, enlisted the financial interest 
of Frank C. Garbutt, a Los Angeles real estate 
operator, and founded a producing company, 
which subsequently was merged into the Lasky 
Company. 

Williams had come newly from Australia. 
In that remote land the motion picture was 
even earlier developing into an important en- 
tertainment, presented in big pretentious 
houses. It was natural that it should be so, 
with an expatriate white race hungry for the 
arts of its kind, numerically too weak to create 
them, and off in the Antipodes beyond the 
commercial reach of ordinary traveling dra- 
matic companies. Australia had to make the 
most of what it got. It got the motion picture. 
Geography here built destiny for the motion 
picture in the person of Williams. 

In New York, for Hodkinson and the "Sea 
Wolf," Williams rented an office at no West 
Fortieth Street. That was to be a pivotal 
address for a deal of motion picture history. 

Hodkinson entered negotiations with the 
Famous Players for their coming schedule of 
feature pictures. Here at once the stage was 
set for interesting and sometimes bitter drama. 

Hodkinson represented and personified the 
machinery of motion picture distribution. His 
major ambition seems to have been to make 
that machine work. He does not seem by any 
of the evidences to have carried any very 
strong personal ambition or personal quest of 
power. 

Two Great Human Forces Meet 

Adolph Zukor, head of Famous Players, rep- 
resented for the moment the most significant 
single element in the making of pictures. His 
ambitions seem to have been Napoleonic. 

It was distribution against production. And 
in some degree it was impersonal principle 
against personal ambition. It was not so 
sharply defined as that — these are merely 
major aspects. The results were in intense 
personal drama, far hidden behind the screen. 

There was endless negotiation, conference 
and counsel. 

One night in this period Adolph Zukor, beset 
by his problems, his fear that distribution in 
the control of others would make a slave of 
production as controlled by him, walked the 
streets of New York from midnight to dawn. 
Twice that night he and the man who walked 
beside him saw the Battery and once One 
Hundred and Twenty-fifth Street. 

Let every little hopeful, ambitious clerk and 
hireling see that picture of the man who 
epitomizes the "big boss." Adolph Zukor 
pacing the big dark canyons of the skyscraper- 
through the small hours while the little people- 
slept. Through his dreams, fears, hope-. 
schemes, plans, worries, he was earning success 
— and he was not sure he was ever going to be 
paid for it all. 

One day came what was to be the final con- 
ference, a session at the office of Elek J. 
Ludvigh, Zukor's lawyer. Hodkinson and 
Zukor were to sign their contract. 

When the papers were spread out Hodkinson 
saw the plan in the light of a Famous Player-,' 
deal that jeopardized his agreements for 
pictures from Lasky. 



'We 



take 



Somebody murmured that 
care of Lasky" 

It was all off. Hodkinson left and went back 
to his office in Fortieth Street to mark time. 

Al Lichtman, sales manager for Famous 
Players, sent out a wire call to the big buyers 
of features all over the country. Presently the 
five big men of the feature picture trade as- 
sembled in New York for the grand joust. 
Hodkinson, Hiram Abrams of Boston, W. L. 
Sherry of New York, Raymond Pawley of 
Philadelphia, and James Steele of Pittsburgh. 

Hiram Abrams, today the executive head of 
United Artists, was then the partner of Walter 
I (ireene in motion picture distribution and 
theaters in New England. Greene began in the 
remote days of the little traveling picture show 
and followed the frequent pattern, with the 
successive steps to motion picture theaters and 
then an exchange system. Abrams joined later 
in the ascent, in the course of a business career 
that began in his school days in Portland, 
Maine. He was carrying a paper route, when 
his mother's complaint about watered milk put 
him in the notion of dairying and a milk route. 
The milk route led to a restaurant and near the 
restaurant was a music store. Through the 
music store Abrams became a collector of in- 
stallment payments on pianos. The music 
business brought contact with song slides and 
singers appearing in the motion picture 
theaters. Abrams and Greene met through the 
Greene Theater in Portland. The threads of 
destiny joined. 

\Y. L. Sherry, the New York exchange factor 
in the situation, brings in a flash of the infinite 
drama of chance in the great human ant hill of 
Manhattan. Sherry, in 191 2, was a salary loan 
agent in the downtown section. Scanning the 
"Business Opportunities" column of the New 
York Times one morning he discovered an in- 
triguing advertisement. 

A "Blind" Ad That Brought a 
Fortune 

WANTED — A man to put $5,000.00 into 

a promising, etc., etc. 

It was a "blind" advertisement inserted by 
Al Lichtman, the new sales manager of the new 
Famous Players, trying this despairing last 
expedient to find a buyer for the first of their 
features, the historic "Queen Elizabeth," with 
Sarah Bernhardt. Sherry answered the ad- 
vertisement, and was swiftly on the road to 
riches. In a few years he had amassed more 
than a million dollars in motion picture profits. 
Later ventures were not so successful. 

The season of 1923-24 found Lichtman in 
charge of Universal's special picture cam- 
paigns, and Sherry in charge of one of the road 
showings of " The Hunchback of Notre Dame." 

Back again to 19 14. In the New York 
dickerings the four other buyers of the group 
came to be of the notion there was some sort 
of secret understanding between Hodkinson 
and Zukor in the outward war of negotiation. 

Affairs had reached an impasse. A rather 
casual conversation arose in Hodkinson's office 
at 1 10 West Fortieth Street, a discussion of the 
apparent deadlock. 

" Well, now," observed Hodkinson, "it looks 
as though we had them where we wanted them. 
We have the power." 

"Why didn't you talk like that before?" 

"I didn't know you wanted me to," Hodkin- 
son answered. 

How Paramount Had Its Origin 

In that moment came the understanding 
that became Paramount Pictures Corporation. 
On the other side Zukor. Lasky and Garbutt 
were, by this new pressure of distributor unity, 
forced into an understanding based on their 
common interest. 

It had already begun with a message from 
Zukor to Lasky congratulating him on his 
feature picture efforts. It began when they 
shook hands for the first time at Delmonico'.- 
and sat down for lunch. 

Today their separate corporations are 



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Photoplay Magazine — Advertising Section 



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merged in the Famous Players-Lasfcy Corpora- 
tion. And Paramount has long since been 
absorbed too — but that is yet another story. 
"They returned from the ride with the Lady 
inside and a smile on the face of the Tiger." 

At no West Fortieth Street the new five- 
part distributor combine was under way, with 
several projected names. 

Hodkinson was reaching after a name 
that should express the quality idea, a superi- 
ority to the old program picture idea. Then 
came a chance glimpse of a sign announcing the 
Paramount Apartments and the corporation 
was named. While a lawyer waited on the long 
distance phone in Albany for the filing of the 
papers the decision was made. On the blue 
face of an advertising blotter Hodkinson 
struggled with sketchy ideas of a trademark. 
He drew at last a "paramountain," the moun- 
tain or volcano as it may be, of the Paramount 
trade mark. A lithographic artist added the 
circle of stars from the old Porter-Swanson Rex 
design and it was complete. Millions have 
gone into establishing that trademark symbol, 
born of Hodkinson's Rocky Mountain country 
and a New York apartment house. 

Paramount entered into a deal with the 
producers, Lasky, Zukor and Garbutt. An 
advance of $25,000 per picture was to be made. 
The producer was to receive 65 per cent of the 
earnings while the distributor took 35 per cent. 
This ratio, evolved out of Hodkinson's ex- 
change experience with the General Film, has 
been a curious constant of motion picture prac- 
tice for many years. 

Mary Pickford Paramount's 
Big Asset 

Meanwhile Mary Pickford was becoming the 
outstanding public fact of Famous Players, the 
greatest asset of the concern. In January of 
1014 while the movements toward Paramount 
were taking shape, Edwin S. Porter, in charge 
of production, took Miss Pickford and a com- 
pany to California to make "Tess of the Storm 
Country," for its period the greatest of her 
pictures. Mary Pickford was now earning 
$1,000 a week. 

And the while affairs were much astir in the 
rising Mutual Film Corporation. In it the 
symptoms of the chronic disorder of film con- 
cerns, the struggle between special individual 
pictures of superior quality and the current 
grind of program output, were apparent even 
as Mutual began to function. Adhering for 
Mutual to the program idea, H. E. Aitken 
launched the Continental Features Corpora- 
tion to sell the bigger pictures rather inde- 
pendently but linked in some degree with 
Mutual. D. W. Griffith, whom Aitken had 
acquired for Reliance-Majestic, and Thomas 
Ince of Baumann & Kessel's New York Motion 
Picture Corporation, were making the best of 
these features, among them "The Battle of the 
Sexes," from Griffith, "The Battle of Gettys- 
burg," from Ince. There were many other 
features and other corporate names than Con- 
tinental, the Sappho Feature Film Company 
for one example. It was a tangle, futile to 
unravel for history. 

D. W. Griffith. Decides to Make 
World's Greatest Picture 

But Griffith, whose contract, it will be re- 
called, permitted him a number of independent 
pictures each year in addition to his service 
under the Aitken banner, was now rather 
secretly on the road to his greater effort. On 
February 14, 1914, Griffith arrived in Los 
Angeles and started rather quietly on some 
major operations, involving such items of lining 
up organization to give him several thousand 
extra people, some thousands of horses, sundry 
thousands of uniforms and other odd bits of 
studio properties. Outwardly he was mostly 
busy with the finishing of "The Escape," the 
Armstrong drama, a minor feature. 

Inwardly, Griffith was consumed with the 
enthusiasm of his project to make a picture 
based on "The Clansman." the novel by 



Thomas Dixon. This story had been brought 
to Griffith's attention by Frank Woods, head 
of the Mutual's newly formed scenario depart- 
ment. It was in the form of a script for the 
speaking stage. Griffith's first casual attention 
had grown into a deep interest. 

Griffith was deliberately out to make the 
world's greatest motion picture. The pro- 
claiming advertisement in the Dramatic 
Mirror, quoted in an earlier chapter, has shown 
the Griffith hunger for recognition, the force 
which made him depart from Biograph. 

It would require the space of a large volume 
to tell all of the romance of ambition, politics, 
and finance involved in the making of "The 
Clansman." A half a dozen times the com- 
pletion of the project was threatened when 
backers, terrified by Griffith's expenditures, re- 
fused to continue support. Griffith reached 
everywhere for money. His struggles are 
reminiscent of Bernard Palissy, the sixteenth 
century ceramic artist, burning his very home 
to keep the fires of his furnace going. In one 
desperate circumstance J. D. Barry, secretary to 
Griffith, obtained a loan from a Pasadena cap- 
italist. Griffith, grateful, insisted that Barry 
keep the usual commission, some seven hundred 
dollars. Barry refused, taking stock in "The 
Clansman" to this amount to cheer his chief. 
Barry thought, of course, the money was gone. 
It was. But it came back, bringing a profit 
of $14,000. 

The Mutual Film Corporation, through H. 
E. Aitken the president, became an investor in 
the picture in the sum of $25,000. When this 
came to the attention of the directors there was 
a bitter session. They insisted that Aitken had 
acted without authority and that he must 
relieve the Mutual of this wild venture. He 
did. The ensuing profits of that block of stock 
amounted, Aitken admits, to something more 
than a quarter of a million dollars. 

Griffith Finds Problem in Distri- 
bution of His Film 

"The Clansman" was to be released in 
twelve reels. As the time for its marketing 
drew near, this before the showings mentioned, 
the question of its distribution became a 
serious problem. It was such a product as 
could not be handled by any of the existing 
distribution machinery of the older concerns. 

Hodkinson with his various west coast 
feature exchanges and various exchange affilia- 
tions in Paramount was considered. 

Famous Players then also had a big picture 
in work, "The Eternal City," with Pauline 
Frederick in the leading role, under production 
by Porter in Rome. It involved some financial 
problems and many conferences with Para- 
mount. Paramount was rapidly becoming 
what it had set out to avoid, a program concern. 
with ten reels a week in two features. The old 
problem of a consistent regular commercial 
supply from sources which should be governed 
by often inconsistent and irregular course of art 
was reasserting itself. "The Eternal City" 
was costing large sums, possibly $100,000 in 
total, and it was going to require special selling 
and presentation on a level above the Para- 
mount routine to get back the money. This 
gave rise to a project for the formation of the 
Select Film Booking agency, as a Paramount 
special organization to place super-pictures in 
a super-market. It was an early step toward a 
solution of the problem which in 1924 was being 
met by the special roadshow presentations of 
such pictures as "The Covered Wagon," "The 
Ten Commandments," and "The Hunchback 
of Notre Dame " 

This Paramount effort toward the bigger 
market brought thoughts of the great Griffith 
picture in that direction. An appointment was 
made to discuss distribution of "The Clans- 
man." Word of this went to the office of 
Famous Players. Then word went back that 
"The Eternal City" could never be handled by 
the same concern along with "that dirty nigger 
picture." So does gossip shape the course of 
history. It was an erroneous judgment, 1 11 1 
understandable. 



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Photoplay Magazine — Advertising Section 



J 33 



"The Clansman" had its premiere at Clune's 
Auditorium in Los Angeles on the night of Feb- 
ruary 8, 1915. It was the greatest motion | 
picture event of that motion picture city. Talk 
of the vast operations on the Griffith lot, talk , 
of the theme, had the city agog. There were 
mutterings of race war because of the negro 
element. Politicians, scenting trouble with tin- 
dark vote, grew hostile. The police were 
massed against a possible riot. The picture 
was a sensational triumph before that first 
night audience. In Washington the picture 
was shown at the White House to President 
Wilson and his family, and at special showings 
for the justices of the Supreme Court and 
members of the diplomatic corps. In New 
York a special showing was given the night of 
February 20, 19 15, at the Rose Gardens, Fiftj 
third and Broadway. Thomas Dixon, author 
of the basic story, as the final scene passed. 
shouted to Griffith, "Clansman is too tame- 
let's call it "The Birth of a Nation.' " 

March 3, under its new title, the picture 
opened for the New York public at the Liberty 
Theater, with a top admission price of two 
dollars a seat. 

The motion picture had taken its place on 
a parity with the drama. 

"Birth of a Nation" Breaks All 
Records 

Seven years before the producer of "The 1 
Birth of a'Nation." then just Larry Griffith, an 
actor out of a job, found a chance to play a role 
in a little one-reel Edison drama for five dollars 
a day. Seven years since he sold his first script j 
to Biograph for fifteen dollars. 

"The Birth of a Nation" broke all manner 
of theater records in various world capitals and 
became, as it remains today, the world's : 
greatest motion picture, if greatness is to be 
measured by fame. It has ever since continued 
to be an important box office success. Early in 
1924 "The Birth of a Nation" played in the 
great Auditorium Theater in Chicago, surpass- 
ing any previous picture audience record for 
that house. "The Birth of a Nation" is nine 
years old. No other dramatic screen product 
has lived so long, with the single and interesting 
exception of the little one-reel Sennett Key- j 
stone comedies featuring Charles Chaplin, j 
Here, perhaps, is a test of screen art. 

"The Birth of a Nation" was Griffith- 
vindication for his flourishing departure from 
Biograph. 

Because of the halo that "The Birth of a 
Nation" has conferred upon them, some of the 
now famous names from the cast must b2 re- j 
called: Henry Walthall, Mae Marsh, Elmer 
Clifton, Robert Harron, Lillian Gish, Joseph 
Henabery, Sam de Grasse, Donald Crisp and 
Jennie Lee. 

Griffith's attainment in "The Birth of a 
Nation" must be credited with a large infhu nee 
in extending an acceptance and appreciation of 
the screen art into new, higher levels. Here 
was a picture that could not be ignored by any 
class. It also exerted a large, even if indirect, 
influence on the course of motion picture 
finance. Hundreds of thousands and million^ 
were now to become easy figures in the ma- 
nipulation of the thought of the industry. "The 
Birth of a Nation" is said to have cost over a | 
quarter of a million. It would have been cheap 
at a million. The public has paid 815,000,000, 
according to the estimate of J. P. McCarthy, 
who has put the picture on the screens of the 
world. 

In this single picture, Griffith, above all 
others, forced an indifferent world to learn that 
the motion picture was great. 

In the next chapter we shall tell some untold 
tales of screen destiny, rich with personal 
drama and adventure, stories of Charles Chap- 
lin, Pancho Villa. Jack Johnson and Jess 
Willard. a curious bypath story of the world 
war and Broadway, and the amazing truth of 
how one idea and one little girl, Mary Pickford, 
rocked the whole vast institution of the screen 
and set all of its invested millions a-tremble. 
[to be con tin ltd I 



What $1.25 

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More than a thousand pictures of photo- 
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You have read this issue of Photoplay, so 
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134 



Photoplay Magazine — Advertising Section 



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Pictures That Talk 

[ CONTINUED FROM PAGE 78 ] 

asked by exhibitors. And the answer is al- 
ways reads' for them. • 

If the print breaks, it is patched together 
just like any other motion picture print. The 
pictures are taken at the rate of twenty to 
twenty-two per second, so that two, or even 
three "frames" may be cut out of a film with- 
out being noticed in the synchronization. 

"My talking pictures have not yet been per- 
fected," says Dr. De Forest. "I never said 
the) r were. But I will make this prediction: 
Within a year from now we will have perfected 
talking pictures to a point where the voices 
will be recorded with such clarity that it will be 
impossible to distinguish between the actual 
human voice as spoken by a person present and 
the voice of the same person recorded on the 
film. We have found out what causes the 
metallic sound that makes the voice unnatural. 
It is so simple that I am amazed we did not 
discover the cause at the start. That will be 
remedied immediately. 

"It is perfectly possible now to record 
different voices so that they are instantly 
recognizable to one familiar with them, just as 
it is possible for you to recognize the voice of a 
friend over the telephone." 

Dr. De Forest's first experiments with 
recording sounds on film with the Phonofilm 
were in connection with the reproduction of 
music. Everyone knows how absurd it is to 
see a motion picture of a man playing, for 
example, a saxophone. His cheeks puff out and 
he gets red in the face with the exertion, and 
never a sound is heard. De Forest made his 
saxophone player heard. 

Then he experimented on dance numbers. 
The motion picture producer always steers 
clear of dancing on the screen as much as pos- 
sible because it is impossible, even in the best 
theaters, for the orchestra to play so that the 
dancers will be "in step." So Dr. De Forest 
photographed the music and the dancer on the 
same film. 

Through the interest of Dr. Riesenfeld, per- 
mission was given Dr. De Forest to experiment 
with "The Covered Wagon" film. Dr. 
Riesenfeld arranged the musical score for this 
production, and Dr. De Forest is photograph- 
ing this music on the negative of the picture. 
This means, if the work is successful, that 
"The Covered Wagon" may be seen in any 
theater, no matter how small, with the same 
musical program that was played with it for 
more than a year in New York. 



Polas, Barbaras and 
Glorias 

l CONTINUED FROM PAGE 8 1 ] 

relative value to detail, description and de- 
velopment, uses the same methods for effects. 
A novel is a movie in words; a movie is a novel 
in pictures. The woman in a story must 
appeal to the emotions through the intellect 
and the imagination. The woman in the film 
makes her appeal to the emotions more 
directly — through the imagination alone. 

"Her appeal to the imagination of the male 
sex is obvious. Her appeal to the imagination 
of the women is more compelling, more haunt- 
ing, because it is more subtle. An average girl 
pictures herself in the place of the alluring 
heroine on the screen. She wishes that she 
were that beautiful creature whose career she 
follows to the usually glorified and idealized 
conclusion of the story. And what is the result? 
Imitation." 

With this friendly form of envy, the cele- 
brated Spaniard accounts for the prevalence all 
over the world of the influence of the American 
picture star. There are as many decided in- 
terpretations of her, as there are nations she 
amuses. 



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A tremendous story of the days 

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Etiq 



Photoplay Magazine — Advertising Section 



uette and Fashions of the Film World 

[ CONTINUED FROM PAGE 75 ] 



It is proper at any time for a gentleman to 
mop his brow and neck with ;i pocket handker- 
chief, provided the handkerchief is taken from, 
and returned to, the outside breast coat- 
pocket. 

All tradesmen's deliveries in the homes of the 
socially elect are made after dinner in the eve- 
ning, at the front door. And the uniformed 
butler should always receive the packages and 
bring them at once into the drawing-room. At 
first thought, this proceeding may seem some- 
what undesirable, but the advantages of it arc 
quite obvious. At this time of day the husband 
and wife are together, and the package is apt 
to be a new hat, gown, or fur coat which the 
extravagant wife has had charged, contrary to 
her husband's orders; and thus he discover, the 
fact, and a stirring emotional scene follows. 
Or, it may be a pearl necklace which the per- 
fidious husband has ordered for his mistress; 
and thus his double life is revealed to the wife, 
and a still more stirring emotional scene 
follows. 

When proposing to a lady out-of-doors, a 
gentleman should choose the following loca- 
tions: If at the seashore, he should select a 



cliff or promontory against which the waves 
are dashing. If in the country, a rustic seat 
built between two large trees. If in the moun- 
tains, an isolated peak outlined against the 
sunset. 

No one who is anyone ever goes out in the 
evening, under any conditions, except in the 
most formal evening dress. 

All bachelors, when receiving guests in their 
apartments, should wear long satin dressing- 
gowns, cut like Japanese kimonos, and em- 
broidered with chrysanthemums the size of 
cabbages. 

No young unmarried girl should accept an 
invitation to go automobiling alone with a 
member of the opposite sex, until engaged to 
marry him. 

When greeting a friend or a familiar ac- 
quaintance, a gentleman should either put an 
arm affectionately about the other, or else slap 
him soundly on the back. At stag affairs the 
gentlemen should shake hands vigorously be- 
tween each drink, always saluting one another 
as "old man!" 



Questions and Answers 

f CONTINUED FROM PAGE 106 1 



Mrs. J. Mck. T., Louisville, Ky. — The 
pictures made by the star you mentioned aren't 
always good entertainment for children. To 
give the children credit, I don't think they 
enjoy them. Photoplay's reviews list pic- 
tures that are for the family. I don't agree 
with you about comedies being harmful for 
children. Most of them are all right, espe- 
cially the ones made by Harold Lloyd and Hal 
Roach. Why don't you allow your little 
daughter to write Leatrice Joy for a picture? 
It's a natural enough wish. 

Just Prudence, River Falls, Idaho. — No, 
sister. Neither Katherine MacDonald nor 
Mildred Davis has ever been in the Follies. 
Neither Ziegfeld's nor John Murray Ander- 
son's Greenwich Village variety. 

Mary L., Shreveport, La. — I repeat 
through these columns to "Tommy Meighan" 
what you said, that Detroit wishes he would 
make some pictures in that city's picturesque 
environs, and that you girls "would receive 
him with open arms and park yourself on the 
petticoats of the studios to see him walk by." 

Mary J., Hackensack, X. J. — You have 
loved June Caprice since a child. Your child- 
hood or hers? Miss Caprice is, in private life, 
the wife of Harry Millarde, a Fox director. 
She intends soon to return to the screen. For 
two years she has been engaged in administer- 
ing motherly care to June Caprice Millarde. 
Theda Bara retired from the screen and stage. 
Object, matrimony. There is persistent rumor 
that she will return. 

Dot, Flatbush, N. Y. — You are "mine till 
Niagara Falls." Ha! Ha! Another Ha? Cer- 
tainly. You and your girl friend have had a 
spat about Nita Naldi? You say she was born 
in America. Your friend says in Russia. You 
win. Miss Naldi was born in America, of 
Italian and Irish parentage. 

Widow with Five Children', Iron Moun- 
tain, Mich. — Your suggestion that Mary 
Pickford "adopt some poor little orphan" 
should be sent directly to her. But before you 
do, let me tell you that she and Tommie 
Meighan are the largest contributors of money 
and time to the largest orphanage in Los 
Angeles. 



K. Summerville, White Plains, N. Y. — 
I wish I knew where Ricardo Cortez received 
his training as an actor. But I don't think he 
ever played in the stock company you mention. 
He was dancing in Los Angeles when Fate and 
a movie contract struck the decisive blow. 

Rose, New Haven, Conn. — Out, out, brief 
scandal! The couple you mentioned never 
married and they are no longer engaged. 
Don't blame it all on Broadway. 

Curious, Altoona, Penn. — Ye-es, Miss 
Curious. At least, well enough. Anna Q. Nils- 
son's husband is John M. Gunnerson. Shirley 
Mason's eyes are the color of the sea on a 
cloudy day in winter. Right. Gray. Hair, like 
chestnuts in autumn. Shining brown. Right 
again. You are clever. 

Lon Chaney Fan, Chicago, III. — The 
actor who has been so fortunate as to win your 
unqualified admiration, Lon Chaney, has 
played in "Fires of Rebellion," "The Miracle 
Man," "The Penalty," "While Paris Sleeps," 
"All the»Brothers Were Valiant," "Quincy 
Adams Sawyer," "A Blind Bargain," "The 
Shock," "Shadows," and "The Hunchback of 
Notre Dame." The stars who appeared in 
"The Affairs of Anatol" were Wallace Reid, 
Gloria Swanson, Elliott Dexter, Bebe Daniels, 
Monte Blue, Wanda Hawley, Theodore Rob- 
erts, Agnes Ayres, Theodore Kosloff , Raymond 
Ilatton, Julia Faye, Thurston Hall. 

R. S., Mobile, Ala. — The first important 
event of Hoot Gibson's life was his birth. That 
occurred at Tckamah, Neb., i8q2. His second 
was his marriage to Helen Johnson. 

Miss Freddie, W. Va. — Douglas Fairbanks, 
Jr's. age is fourteen. You think Bobby Agnew 
an ideal high school boy. So do others. 

R. H., La Crosse, Wis. — Glad to hear from 
you, Russell, old chap. You think the camera 
does not do justice to Eugene O'Brien's good 
looks and you more enjoy seeing him in a play. 
He should be proud of that estimate of him by 
an unbiased member of his own sex. You think 
Norma Talmadge, "when it comes to acting, 
runs away with the prize." You have many 
fellow admirers of Miss Talmadge for her 
sincere portrayals. 







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the entire body with 

DR. WALTER'S 
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Inducing Corsets: In dark and 
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waistline. Stnd waist and 
hip measurements $12.00 

Chin Reducer 2.50 

Send for my booklet 

Dr. Jeanne P.H. Walter 

389 Fifth Avenue, New York 

Near 36th Street Suite 605 





e Youi7 
Skin/ 



Your Skin Can Be Quickly Cleared of 

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the face or body, Barbers Itch, Eczema, 
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51000 Cash says I can clear your skin of the above blemishes. 

C.S.GIVENS.139 Chemical Bldg., Kansas City. Mo. 



When you write to advertisers please mention PIIOTOPI.AT MAGAZINE. 



Photoplay Magazine — Advertising Section 



Mellins Food 



/ 



■I 



f 



Josephine Sullivan, 
New Orleans, La. 



Use the Mellin's Food Method 
of Milk Modification for your baby 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



; 



^<^### 




^Jge 



Lovely women throughout the 
ages — women who swayed men's 
hearts and had the world at their 
feet — knew the powerful fascina- 
tion of perfume, and sought the 
rarest and loveliest for their 
adornment. 

Times and fashions change, but 
perfume never loses its power to 
charm and fascinate. Clever wo- 
men have always known this, but 



the woman of today has learned a 
newsecret. She chooses a perfume 
that will harmonize with her type. 
She selects it just as she selects a 
hat or gown— for its becomingness. 

Women of many types have found 
in FLORIENT the perfume that 
suits them exactly, but if your type 
demands some other fragrance, 
you will be sure to find it among 
Colgate Perfumes. 



There is a new way to choose your perfume. It is called 
the Colgate Perfume Test. Write for the three trial vials of 
perfume, perfumers' testing slips and directions for making 
the test. Enclose a 2 cent stamp. Address Colgate &. Co., 
Dept. 531, 199 Fulton St., New York City. 

COLGATE'S 

Perfumes 



1 he "Fiational yuide to CNLotion Pictures 



N.S.E. 




August frf 



BETTY COMPSON 



25 cents 




Dn-WH hy TEMPEST INMAN 



5 BOBBED HAIR AN EXTRAVAGANCE? 



rn 







folo — and the fashionable throngs at Cannes 



(^annes, Oashion's Qtendezvous, 
Sends word of todays ^lerfume 9\^ode 

fT)OLO AT CANNES! The King of Spain plays. England 
-fsends her cleverest horsemen. Royalty attends — and 
the smartest of the Parisiennes. Here, in Fashion's ren- 
dezvous, may one not hope to learn the approved mode 
des parfums ? 

Indeed, yes — it is this: " On ne melange pas les parfums. " 
(One never mixes varying perfumes. Rather shall all your 
toiletries be of the same Parisian fragrance.) 
So, then, will the fashionable Americaine decree that her 
boudoir be graced by the specialites Djer-Kiss. Her Parfum 
will be Djer-Kiss, that alluring French odeur created in 
Paris — in Paris only — by that genius des fleurs, Monsieur 
Kerkoff. That same French Djer-Kiss will subtly fragrance 
her Eau de Toilette, her Soap, Sachet, Creams, Compacts 
and Lip Rouge. And she will choose, as companion 
aids to summertime charm, Djer-Kiss Talc and Djer- 
Kiss Face Powder — so soft, so fine, so cooling. 

Will not Madame today seek these many specialites 
Djer-Kiss at her favorite shop, and through them 
al! achieve a true Parisian harmony of the toilette, 
an allure that is French alone ? --.OV" 



Two "Djer-Kiss <_Aids to 
^Midsummer Charm 

Talc T>jer-Kiss 
French, French Talc — Talc 
Djer-Kiss! So smooth, so 
fine, so delicately fra- 
granced in France with 
Parfum Djer-Kiss. 
Packed now, too, in this 
new, handsome bottle of 
fluted glass; a most grace- 
ful accessory for the dress- 
ing table. 

'Djer-Kiss Face Powder 

Fragranced in France only, 
with that same Parfum 
Djer-Kiss itself. Soft, soft 
it is, and unbelievably fine 
— delicately adherent in 
its fashionable shades. 



PARFUM . FACE POWDER • TALC • SOAP 
TOILET WATER • VEGETALE • SACHET • ROUGE 
CREAMS • LIP ROUGE • BRILLIANTINE j 



Then* eprfialili's—Rnitac. Liv Range, Compart. 

and Cream*— hlvnded here with pure Djer-Kia» 

Parfum intpurted /ram France 



'*rf 




TAi-(_ DJER-KISS 



The Djer-Kiss 
Loose-Powder Vanity 

Now Madame 
may carry in her 
handbag, loose 
Djer-Kiss Face 
Powder (so in- 
comparably fine) 
as easily, as safe- 
ly, as she would 
a Compact. 



DJER-KISS LOOSE POWDER 
VANITY 



Photoplay Magazine — Advertising Section 



qA Challewfe lojluthors 

\^ knoWn and unknown 

rite, if you can, a 
ktory as fascinat- 
ing, as thrilling, as 
entertaining as the 
ife story of 




"The episode of the love 
of Lincoln for Ann Rut- 
ledge is one of the most 
beautiful romances of Amer- 
ican history," said Photo- 
play magazine in reviewing 
this picture. George Billings 
plays Lincoln and Ruth 
Clifford is Ann. 




ABRAHAM 
INCOLN 



"VTOW at last comes a motion 
^^ picture that touches every 
emotion; thattingleseveryheart 
string. "Abraham Lincoln" is 
the miracle of entertainment. 
Its love story is a living poem; 
its drama a succession of thun- 
dering climaxes. 

Once in a century does a 
human soul live through such 
drama and adventure. Once 
in a decade does the screen 
offer such unusual entertain- 
ment. Ask your local theatre 
when you will see "Abraham 
Lincoln." 



Produced by 

AL«dRayRockett 

Scenario bi/ FRANCES MARION 
Directed by PHILIP ROSEN 



A 3ir>6t national Picture 



When you write to advertisers please mention PHOTOn.AY MAGAZINE. 




Photoplay Magazine — Advertising Section 



^^^"^fz)^ 





^eautiful^etty^lythe 

The exquisite artlessness of Miss Blythe's costume, which so 
effectively emphasizes her beauty, is achieved only by the 
absolute correctness and perfection of even the minutest 
details of her attire. 

Visible eyelets, Miss Blythe believes, should be evident on 
the lace footwear of every welhdressed woman, because they 
are so essential for the correct appearance and good style of 
her shoes. With the simplicity of the tailored suit focusing 
the attention on the hat and shoes, visible eyelets are an 
important consideration when you select your footwear. 
Insist that your shoes be finished with visible eyelets — they 
are both decorative and practical. 



DiamondBrand (Visible) 
Fast Color Eyeleti have 
genuine celluloid tops 
that never lose their color 
andthat actually outwear 
the shoe. 




oAsk for Goodyear Welt shoes with visible eyelets! 

UNITED FAST COLOR EYELET COMPANY 

^Manufacturers of 

DIAMOND BRAND (VISIBLE) FAST COLOR EYELETS 
l%o& — 



c*o 




The genuine Diamond 
Brand (Visible) Fast 
Color Eyelets can be 
identified by the two tiny 
raised Diamonds on their 
celluloid surface. Look 
for the Diamond trade- 
mark. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 




&M 1 a& 



mMmmm m 







The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R QUIRK, Edit on 



IVAN ST. JOHNS 
WBSTBRN EDITOB 



Vol. XXVI 



No. 3 



Contents 



Betty Compson 



August, 1924 

Cover Design 

From a Pastel Portrait by Tempest Inman 
Brief Reviews of Current Pictures 10 

In Tabloid Form for Ready Reference 

Brickbats and Bouquets 12 

Frank Letters from Readers 
Rotogravure: New Pictures: 19 

Nita Naldi. Mae Marsh Arms, Ronald Colman, Anita 
Stewart, Richard Dix, Irene Rich, Lucy Fox 

Speaking of Pictures (Editorials) James R. Quirk 27 

Bebe Daniels Shows You How to Wear the New Scarfs 28 

Photographs That Offer a Wealth of Suggestions for All Who Follow 
the Deauville Fashion 

The Enchanted Cottage of Dick, Mary, and Mary II 

Barthelmess (Photographs) 30 

A Retreat of Beauty and Charm at Orienta Point, Long Island 

It Isn't the Original Cost of "Bobbed Hair"— 32 

But There Are Ways to Keep Down the "Overhead" 

"The Legend of Hollywood" on the Screen 34 

This Curious Tradition. Made Famous by Photoplay. Is Brought 
to Life in Pictures 

Presenting Mildred Gloria Lloyd (Photograph) 35 

The New Heiress of Harold and Mildred 

The Story Without A Name (Fiction) Arthur Stringer 36 

Chapters III and IV Carry You Halfway to Winning Your Share 
of the $5,000 Illustrated by Douglas Duer 

Rules for the Great Cash- Radio Contest 38 

(Contents continued on next page) 

Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

Editorial Offices, 221 W. 57th St., New York City 

The Internationa! News Company, Ltd., Distributing Agents, 5 Bream's Building, l^ondon, England 

Edwin M. Colvin, Pres. James R. Quirk, Vice-Pres. R. M. Eastman, Sec.-Treas. 

Kathryn Dougherty, Business Mgr. 

Yearly Subscription : $2.50 in the United States, its dependencies, Mexico and Cuba ; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24, 1912. at the Postofnce at Chicago 111., under the Act ol March 3, 1879. 



Photoplays Reviewed 

in the Shadow Stage 

This Issue 



Save this magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 
Make this your reference list 



Page 48 

The Sea Hawk First National 

The Signal Tower Universal 

Those Who Dance First National 

Page 49 

Wanderer of the Wasteland Paramount 

Broadway After Dark Warner 

The Bedroom Window Paramount 

Page 50 

The Turmoil Universal 

The White Moth First National 

Miami Hodkinson 

Why Men Leave Home First National 

Hold Your Breath Hodkinson 

The Fire Patrol Chadwick 

Page 51 

The Gaiety Girl . .Universal 

The Reckless Age Universal 

Fighting American Universal 

The Printer's Devil Warner Brothers 

Daughters of Pleasure Principal 

Woman on the Jury First National 

Page 88 

The White Shadow Selznick 

High Speed Universal 

Between Friends Vitagraph 

Missing Daughters : Selznick 

When a Girl Loves.. Associated Exhibitors 

Pal G" Mine C. B. C. 

Wandering Husbands Hodkinson 

Racing Luck \ssociated Exhibitors 

What Three Men Wanted Apollo 

Don't Doubt Your Husband Metro 

Venus of the South Seas Lee Bradford 

The Sword of Valor Capitol 

After a Million Aywon 

The Good Bad Boy ...... . . Principal 

Page 89 

In Fast Company Truart 

Napoleon and Josephine. F. B. O. 

Spirit of the U. S. A F. B. O. 

The Dangerous Coward F. B. O. 

Broadway or Bust Universal 

Western Luck Fox 

Son of the Sahara First National 



Copyright. 1924, by the Photoplay Publishing Company. Chicago. 



Contents — Continued 

The Prize Story in the Making (Photographs) 41 

Giving You Some Idea of How This Gripping Romance Will Look 
on the Screen 

Favorite Footwear of the Stars (Photographs) 42 

A Glimpse of Some of the Most Recent Styles 

Odds and Ends the Camera Caught (Photographs) 44 

Scenes from Hollywood's Curiosity Shop 

Close-Ups and Long Shots Herbert Howe 46 

Witty Comment on Screen Personalities 
What Tom's Pal Thinks of Him Booth Tarkington 47 

An Appreciation of the Man by a Great Writer 

Draining by James, Montgomery Flagg 

The Shadow Stage 48 

The Department of Practical Screen Criticism 
The Discovery of Jobyna Ralston Herbert Howe 52 

Harold Lloyd's Leading Lady Furnishes an Unusual Kind of 
Interview 

Mary and Doug (Photograph) 53 

You Seldom See a Picture Like This Five Years After the Honey- 
moon 

Studio News and Gossip Cal York 54 

What the Film Folk Are Doing 

Photoplay Finds Mary Fuller Frederick James Smith 58 
A Long, Long Chase in Search of a Vanished Star Is Finally Suc- 
cessful 

Rotogravure : 59 

Mary Fuller, Thelma Hill, Cecille Evans, Florence 
Vidor 

Why Has Florence Vidor Become the Toast of Hollywood? 

Adela Rogers St. Johns 63 
She Reveals a New Personality That Brings the Homage of Men 

The Cookie- Pushers (Fiction) Octavus Roy Cohen 64 

In Which Is Demonstrated That Hollywood May Learn Some- 
thing from Flappers Illustrated by J. Henry 

Announcing Grace Corson, Fashion Authority 66 

The Screen Versions of Dress Are Often Incorrect. Here You Will 
Find the Right Styles Drawings by Grace Corson 

The Romantic History of the Motion Picture 

Terry Ramsaye 68 
Drama, the Color of Life — Another Chapter in the Great Epic 
of the Film 

Before and After Helen Ferguson's Nose Operation 

(Photographs) 70 

A Sonnet Impression of Corinne Griffith (Verse) 

Margaret Sangster 71 
The Photoplay Medal of Honor 72 

Here Is Your Chance to Vote for Better Pictures 

Conway Tearle's Home (Photographs) 73 

One of the Charming Spots of the West Coast Film Center 

You Can't Kid an Actor! (Photographs) 74 

Ben Turpin in Some Splendidly Romantic Postures 

A Leading Man Whose Ambition Is to Have Long Pants 

Ivan St. Johns 76 

Ben Alexander Proves Himself to Be a Real Boy 
Hollywood Writes Home 78 

Reports from the Battleground in Word and Picture 

Drawings by H. W. Haenigsen 

Questions and Answers The Answer Man 81 

Pictures? Oh, Pshaw! Said O. Shaw Sally Benson 84 

But He Has Proved Himself a Good Film, as Well as Stage, Actor 

Where the Screen Stars Train (Photographs) 86 

They Keep Fit in the Hollywood Athletic Club 

Friendly Advice Carolyn Van Wyck 104 

The Department of Personal Service 

Casts of Current Photoplays 121 

Complete for Every Picture Reviewed in This Issue 

Addresses of the leading motion picture studios will be found on page llfi 



:sw- 



■**d 



Photoplay's 

Fashion 

Authority 

Don't miss pages 66 and 
67 in this issue of Photo- 
play. It's merely an 
announcement, but it's 
one of tremendous in- 
terest to every woman 
interested in motion 
pictures and interested 
in good taste in clothes.' 

Miss Grace Corson, one 
of America's few real 
fashion authorities, will 
conduct a department 
on clothes that are worn 
in motion pictures, be- 
ginning next month. It 
will be something en- 
tirely new as a fashion 
service. 

The Great 

Title 

Contest 

has created a tremen- 
dous interest, amounting 
almost to a sensation, 
and if you have not yet 
started it, you should 
do so in this issue. You 
have as much chance as 
anyone else to get the 
cash prizes or a radio 
set. 

Order Your 
Next Issue 
in Advance 



8£<&*t= 



--v®, 



Photoplay Magazine — Adylktising Section 




Maybe you don't believe this 

— then try it yourself 




As a perspiration deodorant simply 
douse on clear Llsterine svith a towel or 
nashcloth. It .evaporates quickly and 
does vihal you desire. 



YOU have doubtless read a great 
many advertisements recommend- 
ing the use of Listerine as a de- 
odorant — as for instance, Listerine for 
halitosis (the medical term for un- 
pleasant breath). 

But do you really appreciate just how 
unusual Listerine's deodorizing proper- 
ties are? Make this test yourself: 

Rub a bit of fresh onion on your 
hand. Douse on a little Listerine. The 
onion odor immediately disappears. 

It will be a revelation to you. And 
then you will appreciate all the more 
why Listerine enjoys so widespread a 
popularity as a deodorant. 



Women lately have developed a new 
use for Listerine. They wanted a per- 
spiration deodorant — one absolutelv 
safe, non-irritating, and one that would 
not stain garments. 

They found it in Listerine — which is, 
after all, the ideal deodorant. Thou- 
sands of men and women will be grateful 
to us for passing this suggestion along. 
Try Listerine this way some day when 
you don't have time for a tubor shower. 
See how clean and refreshed it makes 
you feel.- Lambert Pharmacol 'Com panv, 
Saint Louis, U.S.A.**** Makers 
also of Listerine Tooth Paste and Lister- 
ine Throat Tablets. 



LISTERINE 




— ^The safe antiseptic 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine— Advertising Section 




• 



a whole nation's entertainment 



" ■ - • 









£7)ARAMOUNT cuts another deep notch 

A in entertainment records by announcing 40 

great Paramount Pictures at one stroke for the 

nation's entertainment this Fall and Winter! 

Public demand on a tremendous scale, not 
competition, has ever been Paramount's great- 
est pacemaker, and millions will find overflowing 
diversion in this gigantic program. 

Here are the outstanding hits of the season, 
full of the pith and juice of the most modern 
screen art. See and enjoy them as soon as you can. 

And don't forget that any Paramount Picture 
you haven't seen is a gold-mine of pleasure in 
store for you at any time. The numerous great 
successes of the past created Paramount's great 
name, and they are your guarantee of equal 
delights to come. 

Thrills, joys, and laughs are here aplenty, 
lighting the flame of merriment and hope where 
only the ashes of monotony were before! 



<4 



If it's a Paramount Picture 



Every advertisement in PIIOTOPLAY MAGAZINE is guaranteed. 






Photoplay Magazine— Advertising Section 



r 



Tell your Theatre Manager 

you want to see them ALL/ He wants 

to show what you want to see! 



"The TEN COMMANDMENTS" 
Produced by CECIL B. DE MILLE. 
To be played at legitimate thea- 
tres during season 1924-25. 

"MANHANDLED" 
Starring GLORIA SWANSON. AL- 
LAN DWAN Production. By Arthur 
Stringer. Adapted by Frank Tuttle. 

ZANE GREY'S 
"Wanderer of the Wasteland" 
IRVIN WILLAT Production. Jack 
Holt. Kathlyn Williams. Noah Beery, 
Billie Dove. Adapted by G. C. Hull 
and Victor Irvin. 

"CHANGING HUSBANDS" 

With LEATRICE JOY. From 
"Roles" by Elizabeth Alexander. 
Directed by Frank Urson and Paul 
Iribe. Supervised by CECIL B. DE 
MILLE. Adapted by Sada Cowan 
and Howard Higgin. 

"Monsieur Beaucaire" 
Starring RUDOLPH VALENTINO. 

SIDNEY OLCOTT Production. With 
Bebe Daniels, Lois Wilson. Doris Ken- 
yon. Lowell Sherman. From Booth 
Tarkington's novel and the play by 
Booth Tarkington and E. G. Suther- 
land. Screen play by Forrest Halsey. 

"WORLDLY GOODS" 

Starring AGNES AYRES. By Sophie 
Kerr. Directed by Paul Bern. 

"THE ENEMY SEX" 

JAMES CRUZE Production. With 
Betty Compson. Owen Johnson's 
novel. Adapted by Walter Woods and 
Harvey Thew. 

" The Passionate Journey " 
Starring POLA NEGRI. DIMITRI 
BUCHOWETZKI Production. From 
a story by Suderman and play by Ed- 
ward Sheldon. Adapted by Paul Bern. 

" THE SIDE-SHOW OF LIFE" 

HERBERT BRENON Production. 
Ernest Torrence. Anna Q. Nilsson. 
From Wm. J. Locke's novel, "The 
Mountebank " and the play by Ernest 
Denny. Adapted by Willis Goldbeck 
and Julie Heme. 

" The COHERED WAGON" 
JAMES CRUZE Production. By 
Emerson Hough. Adapted by Jack 
Cunningham. 

"SINNERS IN HEAVEN" 

ALAN CROSLAND Production. 
Bebe Daniels, Richard Dix. By Clive 
Arden. Screen play by James Creel- 
man. 

REX BEACH'S 
"A SAINTED DEVIL" 
Starring RUDOLPH VALENTINO 
with Nita Naldi. JOSEPH HENA- 
BERV Production. From " Rope's 
End." Screen play by Forrest Halsey 

"The Man Who Fights Alone" 

Starring WILLIAM FARNUM. 
WALLACE WORSLEY Production. 
With Lois Wilson. By Wm. Blacke 
and J. S. Hamilton. Screen play by 
Jack Cunningham. 




"FEET OF CLAY" 
CECIL 8. DE MILLE Production. 
Rod LaRocque. Vera Reynolds, Vic- 
tor Varconi, Julia Faye, Ricardo 
Cortez. Theodore Roberts. By Mar- 
garetta Tuttle. Adapted by Beulah 
Marie Dix and Bertram Mifhauser. 

JAMES OLIVER CURWOOD'S 

"The ALASKAN" 

Starring THOMAS MEIGHAN. 

HERBERT BRENON Production. 
Screen play by Willis Goldbeck. 

" OPEN ALL NIGHT" 

Viola Dana, Adolphc Menjou. Ray- 
mond Griffith, Jetta Goudal. By 
Willis Goldbeck. From Paul Mor- 
and's stories. Directed by Paul Bern. 

"HER LOVE STORY" 
Starring GLORIA SWANSON. AL- 
LAN DWAN Production. From "Her 
Majesty, The Queen " by Mary 
Roberts Rinehart. Adapted by Frank 
Tuttle. 

" EMPTY HANDS" 

VICTOR FLEMING Production 
with Jack Holt. Supported by Norma 
Shearer. By Arthur Stringer. Scenario 
by Carey Wilson. 

" THE FEMALE" 

Starring BETTY COMPSON. SAM 
WOOD Production. From "Dalla, 
The Lion Cub. " by Cynthia Stockley. 
Adapted by Agnes Christine Johnston. 

"THE FAST SET" 

WILLIAM de MILLE Production. 
Betty Compson, Adolphe Menjou, 
Milton Sills, ZasuPitts, Elliott Dexter. 
Screen play by Clara Beranger from 
Frederick Lonsdale's play, "Spring 
Cleaning." 

" DANGEROUS MONEY" 

Starring BEBE DANIELS. Adapted 
from " Clark's Field." by Robert 
Herrick. 

" The Story Without a Name" 
IRVIN WILLAT Production. Agnes 
Ayres. Antonio Moreno. By Arthur 
Stringer. Adapted by Victor Irvin. 

"FORBIDDEN PARADISE" 
Starring POLA NEGRI with Rod La- 
Rocque. LUBITSCH Production. 
From "The Czarina" by Melchior 
Lengyel and Lagos Biro. 

" Merlon of the Movies** 

StarringGLENN HUNTER. JAMES 
CRUZE Production. With Viola 
Dana. From the novel by Harry Leon 
Wilson and the play by Kaufman and 
Connelly. Adapted by Walter Woods. 

"WHISPERING MEN** 
Starring THOMAS MEIGHAN. By 

Booth Tarkington. Adapted by Paul 
Sloane. 

" UNGUARDED WOMEN** 

ALAN CROSLAND Production. 
Bebe Daniels. Richard Dix. Mary 
Astor. Story by Lucy S. Terrill. 
Screen play by James Creelman. 

TRADE y+f^»* w MARK 




its the best 



I Famous Players-Laskv Corp 

ADOLPH ZUKOR-PRESIOENT 

NEW YORK CITV 



" THE GOLDEN BED" 
CECILE B. DE MILLE Production. 
Rod La Roccjue. Vera Reynolds, Vic- 
tor Varconi. Screen play by Jeanie 
Macpherson. From Wallace Irwiu's 
novel. 

"MANHATTAN" 
Starring RICHARD DIX. R. H. 
BURNSIDE Production. From "The 
Definite Object," by Jeffrey Farnol. 

"ARGENTINE LOVE" 

ALLAN DWAN Production. Bebe 
Daniels, Ricardo Cortez. By Vicente 
Blasco II. .in. / . 

" The Cafe of Fallen Angels" 
JAMES CRUZE Production. By Le- 
roy Scott. Adapted by Anthony Cold- 
eway and Walter Woods. 

" The Beautiful Adventuress" 
A JAMES CRUZE Production. Star, 
ring BETTY COMPSON. 

"HEADLINES" 
Starring RICHARD DIX. Directed 
by Paul Sloane. Supervised by For- 
rest Halsey. From "The Jungle Law," 
by I. A. R. Wylie. 

"PETER PAN" 

HERBERT BRENON Production. 
Assisted by Roy Pomeroy. From Sir 
J. M. Barrie's famous story. 

ZANE GREY'S 
"THE BORDER LEGION" 
VICTOR FLEMING Production 
with Antonio Moreno. 

"TONGUES OF FLAME" 
Starring THOMAS MEIGHAN. By 

Peter Clark Macfarlane. Directed by 
Victor Fleming. 

"NORTH OF 36" 

IRVIN WILLAT Production. Jack 
Holt. Ernest Torrence, Noah Beery, 
Tully Marshall. By Emerson Hough. 

"MISS BLUEBEARD" 

Starring BEBE DANIELS. From 
the play "Little Miss Bluebeard." by 
Avery Hopwood and Gabriel Dregely. 
Directed by Frank Tuttle. 

"A WOMAN SCORNED" 

Starring POLA NEGRI. DIMITRI 
BUCHOWETZKI Production. From 
"Those Who Walk in Darkness." by 
Perley P. Sheehan and the play by 
Owen Davis. 

"PLAYTHINGS OF FIRE" 

Starring AGNES AYRES. Directed 
by Frank Urson and Paul Iribe. By 
Forrest Halsey. 

"WAGES OF VIRTUE" 

By Percival Wren. Starring GLORIA 
SWANSON. ALLAN DWAN Pro- 
duction. Adapted by Forrest Halsey. 



"A BROADWAY BUTTERFLY' 
WILLIAM de MILLE Productio 
By Clara Beranger. 



i< 



H 










show in town 



When you write to advertisers please mention PITOTOri.AY MAGAZINE. 




- — ^V~.«' -— i. 




Brief Reviews of Current Pictures 



ABRAHAM LINCOLN— Roc-kett-Lincoln — One 
of the finest and most appealing pictures ever made, 
with Lincoln treated truthfully and reverently. 
Everyone should see it. (.March.) 

AGE OF DESIRE— First National.— A woman, 
desiring riches, sacrifices better things. Interesting 
picture, well done. (March.) 

AMERICA— D. W. Griffith.— Almost another 
"Birth of a Nation." Not quite perhaps, but an 
epic film, nevertheless. Of absorbing interest to every 
American. (May.) 

ALIMONY — F. B. O. — Just an ordinary program 
picture, neither better nor worse. (April.) 

ARABIA'S LAST ALARM— Fox.— A joyous com- 
edy, with a clever child, a bull pup and a wonderful 
horse. Well wortli while. • (March.) 

ARIZONA EXPRESS, THE— Fox.— Whizzing 
melodrama. Thieves, gunplay, fast trains, 'n' every- 
thing. (June.) 

AROUND THE WORLD IN THE SPEEJACKS 

— Paramount. — A remarkably fine travel picture. 
(February.) 

AT DEVIL'S GORGE— Arrow.— Just another 
Western, that's all. (June.) 

AVERAGE WOMAN, THE— C. C. Burr.— A de- 
fense of the flapper, as typified by Pauline Garon. 
Melodrama, fairly well done. (June.) 

BAG AND BAGGAGE— Selznick.— A time-worn 
story of the country girl who gets her millionaire. 
Happens only on the screen. (May.) 

BEAU BRUM MEL— Warner Brothers.— One of 
the most interesting of the costume pictures, with 
John Barrymore doing exceptionally fine work as the 
Beau. Don't miss it. (May.) 

BELOVED VAGABOND, THE— F. B. O — Made 
from W. J. Locke's story, but most of the charm and 
whimsicality are lost. (June.) 

BIG BROTHER— Paramount.— A really big, 
human picture, made by Allan Dwan. And with a 
new kid, Mickey Bennett, who is a find. (February.) 

BLACK OXEN— First National.— A good pictur- 
ization of the popular novel on the rejuvenation of a 
woman, with Corinne Griffith doing fine acting. For 
adults. (March.) 

BLIZZARD, THE— Fox.— A Swedish picture and 
nothing to be ashamed of either. A stampede of 
reindeer is a novelty. Good audience picture. (May.) 

BLUFF — Paramount. — A fashion parade with 
Agnes Ayres as a dress designer who wins recognition 
by bluffing the big shops. Amusingly told in a light 
vein. (July.) 

BOY OF FLANDERS, A — Metro.— Jackie 
Coogan's latest and one of the best he ever has done. 
The boy is developing and this picture proves it. 
(June.) 

BOY OF MINE— First National.— A Tarkington 
classic of childhood, extremely well done and with 
some splendid work by little Ben Alexander. (March.) 

BREAKING POINT, THE— Paramount.— Good 
cast, fair story, good direction and action galore. Fine 
entertainment. (June.) 

BREATHLESS MOMENT, THE— Universal.— A 
commonplace story which the whole family may see. 
(April.) 

BROADWAY BROKE— Selznick.— An interest- 
ing picture of New York theatrical life forty years ago. 
Mary Carr excellent. (March.) 

CALL OF THE CANYON, THE— Paramount.— 
A semi-Western, with fine acting, beautiful scenery 
and nearly flawless direction. Don't miss it. (Feb.) 

10 



CAUSE FOR DIVORCE^— Selznick. — A lot of 
troubles aboutwhich no one can possibly care. (April.) 

CHECHAHCOS— Associated Exhibitors.— Story 
of the Alaskan gold rush. Not much of a plot but 
wonderful scenery never before shown on the screen. 
(July.) 

CIRCUS COWBOY, THE— Fox.— Good circus 
story with Charles (Buck) Jones doing some breath- 
taking riding. (July.) 

CONFIDENCE MAN, THE— Paramount.— The 
always likable Tom Meighan in a new version of the 
redemption theme. Amusing, well done and worth 
while. (June.) 

COURTSHIP OF MILES STANDISH, THE— 

Asso. Exhibitors. — Charles Ray's latest and most 
ambitious effort, which doesn't quite register.(A/crc/:.) 



AS a special service to its readers, 
Photoplay Magazine inaug- 
urated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CUPID'S FIREMAN — Fox. — Charles Jones 
heroically dashes through flames, saving imperiled 
women. (February.) 

CYTHEREA— First National.— Far above the 
average picture, although differing largely from Her- 
gesheimer's book. Alma Rubens, Lewis Stone and 
Irene Rich are excellent and settings and photography 
beautiful. (July.) 

DADDIES — Warner Brothers. — A good version of 
the clever stage play, with Mae Marsh and Harry 
Myers heading the cast. (April.) 

DAMAGED HEARTS— F. B. O.— Conventional 
story, with good acting by Mary Carr and others. 
The long arm of coincidence is stretched again. (May.) 

DANCING CHEAT, THE— Universal.— The love 
of a dancer for a gambler. Lots of romance — little 
interest. (June.) 

DANGER LINE, THE— F. B. O.— Japanese 
picture made in France with Sessue Hayakawa giving 
excellent performance. Highly dramatic and worth 
seeing. (July.) 



DANGEROUS BLONDE, THE — Universal. — 
Light and frothy but entertaining. All about foolish 
father's letters to vamp recovered by clever flapper 
daughter. (July.) 

DANGEROUS HOUR, THE— Johnnie Walker- 
Eddie Polo's fall from an airplane through a roof is 
the feature. (February.) 

DANGEROUS MAID, A— First National.— Good 
story and entertainment, but not worthy of Constance 
Talmadge's powers. (February.) 

DARING YOUTH— Principal.— A racy farce, weH 
enough done, with Bcbe Daniels and Norman Kerry. 
(July.) 

DARING YEARS, THE— Equity.— A good little 
boy falls in love with a chorus girl. You know the 
rest. (April.) 

DAUGHTERS OF TODAY— Selznick.— Another 
preachment against the flapper, with a few digs about 
parents who are inclined to flap. (May). 

DAWN OF TOMORROW, THE— Paramount — 

Clean, healthful entertainment for the whole family, 
well directed and acted. (June.) 

DAY OF FAITH, THE— Goldwyn.— Made of 
impossible situations; rather silly in spots. (Feb.) 

DEFYING DESTINY— Selznick.— Full of inci- 
dents, but just ordinarily good, except for Irene Rich. 
(March.) 

DISCONTENTED HUSBANDS— Apollo.— For- 
mula of the man who gets rich while his wife gets 
old. He steps out, but is cured. (May.) 

DO IT NOW — Renown. — The troubles of young 
love with father. Fair entertainment. (May.) 

DON'T CALL IT LOVE— Paramount. — The 
screen version of "Rita Coventry," extremely well 
produced and acted. (March.) 

DOROTHY VERNON OF HADDON HALL — 

United Artists. — Great combination of Mary Pick- 
ford and Marshall Neilan and the historic novel by 
Charles Major. Don't miss it by any means. (July.) 

DRUMS OF JEOPARDY— Truart — Someone 
steals a lot of emeralds and there is much excitement. 
But it doesn't amount to much. (May.) 

ENCHANTED COTTAGE, THE— First National. 
— A charming fantasy, beautifully handled, with a 
most appealing story, enacted by Richard Barthel- 
mess and May McAvoy. (June.) 

ENEMIES OF CHILDREN— Mammoth.— Con- 
ventional story of a waif, tiresomely told. (Feb.) 

EXCITEMENT— Universal. — One of those wives- 

who-can't-stay-home films. (June.) 

EXTRA GIRL, THE— Sennett.— Chiefly notable 
because Mabel Normand heads the cast and her 
pictures are always worth while. (February.) 

FASHIONABLE FAKERS— F. B. O— You know 
all about this one after the first five minutes. (Feb.) 

FASHION ROW— Metro. — The best MaeMurray 
picture in a long time. She has a dual role. (Feb.) 

FAST EXPRESS, THE — Universal. — Old- 
fashioned melodrama, with wrecks, robberies and 
other sure-fire stuff. (April.) 

FIGHTING COWARD, THE— Paramount.— A 
satire on the fire-eating Southerner of the ante-bellum 
days, remarkably well done. (June.) 

FLAMING BARRIERS— Paramount.— An in- 
teresting comedy, with a tragic note in it. The forest 
fire is worth the admission. (April.) 

FLAPPER WIVES— Selznick.— The faith-healing 
theme, with nothing new in the story. Fair. (June.) 

FLOWING GOLD— First National.— Rex Beach 
melodrama of the oil fields, full of excitement and 
thrills. Film entertainment for everyone. (May.) 
[ CONTINUED ON PAGE 14 1 



Photoplay Magazine — Advertising Section 



I I 



m 



ail 




lug MovimiE Pidkare Stars 




NEW DE LUXE EDITION OF 

"Stars of the Photoplay" 



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career of each star 
presented. Alto- 
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constitutes a com- 
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and brief biogra- 
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leading players. 



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Send for your copy of the "Stars of the Photoplay" today. 
Just fill out the coupon below, enclose your check or 
money order for only $1.75 and a copy will be mailed to 
you to any part of the United States or Canada. If it 
does not come up to your expectations or if you are not 

more than satisfied with it 

return it and your money 
will be cheerfully refunded. 

Fill out the coupon and 
mail it today. Address 

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MAGAZINE 

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PHOTOPLAY MAGAZINE 

750 N. Michigan Ave., Chicago, 111. 

Enclosed find $1.75, for which please send one copy of 
"Stars of the Photoplay" to the name and address below: 



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When you write to advertisers please mention PHOTOPLAY MAOAZIN: 



"Hokum" 

Hazleton, Perm. 

Please print thU letter in your magazine to 
let the movie directors know that they are 
positively overlooking the drama in one 
respect. Why do they insist upon having 
pictures broken in a crash as a sign of death 
upon the screen? To see a photo of the patient 
drop off the wall for no good reason is silly. 
That great director, Victor Seastrom. certainly 
went the limit in "Nr-rne the Man." To con- 
vey the idea of the old man's death, he spoiled 
a good piece of stationery with a splotch of ink; 
then for no reason whatever, had a vase of 
flowers fall o\ :r and finally an old portrait that 
had hung on the wall for twenty years without 
accident, fell to the floor. 

I was waiting for the chairs to fall apart. 
Carl L. Kraus. 

The Most Responsible Preachers 

San Francisco, Cal. 

For years I looked upon the motion picture 
industry as the vestibule to perdition and 
treated it as such — keeping my distance. I 
do not know what was responsible for the 
change but in some unguarded moment, when 
my nerves were in a perilous condition, I 
yielded to the enemy and went into a play 
house on Market Street to see Harold Lloyd 
in "Dr. Jack." 

Instead of feeling condemned, I left the 
place with rested nerves, and a determination 
to face the problems confronting me like any 
true soldier, worthy of the name. Then a 
new thought came to me: If a clean play had 
that effect upon me what was to hinder it 
from having the same effect upon others? I 
began to think of actors and actresses as really 
human instead of emissaries of evil. In 
thinking more about them have come to the 
conclusion that the calling of a movie man or 
woman is a noble one, and should be considered 
as such. 

The movie folk are the most responsible 
preachers of the day! 

Zada Bell 

Goodbye and Good Luck 

Manning, S. C. 
I have oeen a reader of Photoplay for years. 
While I am not a subscriber, I always buy it at 
a newsstand and they always save it for me. I 
have always been an ardent defender of movie 
people when anyone intimated that they were 
not as good as other folks. But frankly, I am 
through with Photoplay if it is going to pub- 
lish, uncriticized, such statements as appeared 
recently under the head, "Gossip — East and 
West," by Cal York, in regard to Mabel 
Normand. If Mr. York thinks he can stuff the 
public on Mabel Normand's virtues he is very 
much mistaken. 

H. G. Nelson. 

Helping Corinne Decide 

Sacramento, Cal. 
In the article, "Great Lovers of the Screen," 
I see that Corinne Griffith could not choose 
between Frank Mayo and Conway Tearle. I 
think that a? a helpmate and lover Frank Mayo 
is the best for her. In "Six Days," in which 
they played together, they were very congenial. 
I am not saying Conway Tearle is not a good 
actor, but for Corinne I'd pick Frank Mayo all 
the time. 

James Buck. 

For the "Dependables" 

Northampton, Mass. 
Why not a few words in Photoplay occa- 
sionally for a few of the "dependables"? I 
mean those who have set a standard and in 
each picture give a sterling performance, like 

12 



Brickbats 



Bouquets 

LETTERS 
FROM READERS 



The readers of Photoplay are 
invited to write this department 
- — to register complaints or com- 
pliments — to tell just what they 
think of pictures and players. 
We suggest that you express your 
ideas as briefly as possible and 
refrain from severe personal crit- 
icism, remembering that the 
object of these columns is to ex- 
change thoughts that may bring 
about better pictures and better 
acting. Be constructive. We may 
not agree with the sentiments ex- 
pressed, but we'll publish them 
just the same! Letters should not 
exceed 200 words and should bear 
the writer's full name and address . 



Anna Q. Nilsson, Myrtle Stedman, Enid 
Bennett, Mary Alden, Huntly Gordon, Lew 
Cody, Alec Francis, David Powell and several 
others. 

And won't someone give George Hacka- 
thorne a chance to do a romantic leading role? 
Speaking of " dependables," that boy certainly 
deserves the best a producer and a director can 
give him. I like your terse criticisms in your 
reviews. They help immensely 

Gladyce Millar. 

A Friend of Pola's 

Yakima, Wash. 

Of all the stars, my choice is Pola Negri. 

There are several reasons. One is that she is 
beautifully striking, another that she is dashing 
and has fine technique, and puts her whole 
heart and soul into her playing; and still 
another that her pictures are always very 
thrilling and have plenty of action. There can 
be no argument as to her supremacy among 
movie stars. 

Muriel M. Corpe 

Self-Appointed Guardians 

Fredericksburg, Texas. 

Isn't there some way to rid moving picture 
patrons of that pest (the censor), the self- 
appointed guardian? 

Is it possible to get a law passed, one that 
will let the people be the judge as to what they 
want in the moving picture? Federal control 
would be a calamity. Please, won't some one 
save us from this octopus? 

R. L. Rodman. 

The Handsomest of All 

Keysed, West Virginia. 
I notice in Photoplay recently that some- 
one is raving about George Walsh, someone 



else about Valentino, someone else about 
Thomas Meighan, which is exactly right! But 
I want to rave about John Gilbert. 

He's my favorite. I think he's the hand- 
somest of them all. No, I don't think that. 
I know it! Besides being the handsomest, 
he can act! 

Ada B. Oates 

The Real Culprit 

East Orange, N. J. 

Theodore Roberts himself might be able, by 
sheer force of personality, to redeem a poor 
story, but I do not think anyone else could. 
I do not think it is the fault of the players 
but of the scenarios and their writers when a 
production fails to please the fans. 

Permit me to bring to the attention of the 
readers of this magazine that excellent and 
little known actor, Rockliffe Fellowes. In my 
personal opinion Mr. Fellowes is among the 
best, and all his work that I have seen has been 
admirable. For some unknown reason he 
receives little or no recognition. Let us see 
more of such actors who really portray their 
parts and less of the so-called sheiks." 

Frederick A. Southmayd. 

The Line of Common Decency 

Norwich, Conn. 

I notice from time to time that you bewail 
the fact of censorship. What produced it? 
Why do we have to have it? Simply because 
the producers of pictures overstepped "The 
Line of Common Decency." 

Picture producers are not the only ones who 
err. The same applies to the theatrical pro- 
ducers. Only recently the police of New York 
had to step in to keep some clothes on the 
women in a revue. And next is the press. Some 
magazines I have read, print stories that should 
not be allowed to go through the mails. They, 
theater and press, overstep "The Line of Com- 
mon Decency," and sooner or later they too 
will "enjoy" censorship. 

Stephen M. Walsh 

We Stand Corrected 

Copenhagen, Denmark. 
In your Photoplay No. 4 of January, 1924, 
I have read your commendatory mention about 
the film of "David Copperfield" from the 
novel of Dickens. I see you point out the film 
as a Swedish production, which occasions this 
letter, because the production is fully Danish, 
directed and got up by the Danish stage man- 
ager. Mr. H. W. Laudberg, and performed by 
Danish actors, with exception of the German 
Mr. Martin Herzberg, alias "The little David 
Copperfield." 

A Dane 

Extravagant Modernism 

New York City 
Gloria has changed much since her bathing 
girl days, as the pictures in a recent issue of 
Photoplay testify. She has learned to wear 
her gorgeous gowns and act at the same time. 
Above all else, she stands, along with Mae 
Murray, as the epitome of extravagant 
modernism. The other stars may do tiresome 
historical films but we can always depend on 
Gloria and Mae to give us clever modern plays, 
each one better than the one 1 efore. Both 
these actresses have been unjustly criticized 
and all but condemned, yet they continue to 
reign supreme among their fans. 

Trix Mackenzie. 

For a Director 

St. Joseph, Mo. 
I am going to send a brickbat this time. Not 
for your magazine but for the director of "The 
Call of the Canyon." Why, oh why, couldn't 
he have left it as the book? 

Mrs. Lois W. Brown. 



Photoplay Magazine — Advertising Section 



'3 




Elinor Glyn Dares to Tell 
the Truth About Marriage 

ELINOR GLYN, FAMOUS AUTHOR OF "THREE WEEKS," HAS 
WRITTEN A WONDERFUL BOOK THAT SHOULD BE READ BY EVERY 
MAN AND WOMAN— MARRIED OR SINGLE. "THE PHILOSOPHY 
OF LOVE" IS NOT A NOVEL— IT IS A HELPFUL SOLUTION OF THOSE 
PROBLEMS OF LOVE AND MARRIAGE ABOUT WHICH MOST OF 
US KNOW SO LITTLE AND CONCERNING WHICH WE SHOULD BE 
SO WELL INFORMED. READ BELOW HOW YOU CAN GET THIS 
THRILLING BOOK AT OUR RISK— WITHOUT ADVANCING A PENNY. 



T^7"ILL you marry the man you 
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If a husband stops loving his wife, 
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Will you win the girl you want, 
or will Fate select your Mate? 

Will you be able to hold the love 
of the one you cherish — or will your 
marriage end in divorce? 

Do you know how to make people 
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TF you can answer the above ques- 
tions — if you know all there is to 
know about winning a woman's 
heart or holding a man's affection — 
you don't need "The Philosophy of 
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you don't know just how to handle 
your husband, or please your wife, 
or win the devotion of the one you 
care for^ — then you must get this 
wonderful book. You can't afford 
to take chances with your happiness. 



What Do YOU Know 
About Love? 

DO you know how to win the one you 
love? Why do husbands often grow 
increasingly indifferent even though their 
wives strive tirelessly to please them? Why 
do some men antagonize women, finding 
themselves beating against a stone wall in 
affairs of love? When is it dangerous to 
disregard convention? Do you know how 
to curb a headstrong man, or are you the 
victim of men's whims? 

Do you know how to retain a man's 
affection always? How to attract men? 
Do you know the things that most irritate a 
man? Or disgust a woman? Can you tell 
when a man really loves you — or must you 
take his word for it? Do vou know what 
you MUST NOT DO unless you want to 
be a "wall flower" or an "old maid"? Do 
you know the little things that make women 
like you? Why do "wonderful lovers" 
often become thoughtless husbands soon 
after marriage — and how can the wife 
prevent it? Do you know how to make 
marriage a perpetual honeymoon? 

In "The Philosophy of Love," Elinor Glyn 
courageously solves the most vital problems 
of love and marriage. Her book will thrill 
you as you have never been thrilled before. 
It may also upset some of your pet notions 
about love and marriage. But it will set 



What Every Man and 
Woman Should Know 



-how to win the man 

you love, 
-how to win the girl you 

VI .III I 

-how to hold your hus- 
band's love. 
how to make people 
admire you. 

-why •' pet tine parties" 

destroy the capacity 

for true love, 
-why many marriages 

end In despair. 
-how to hold a woman's 

affection. 
-how to keep a husband 

home nights, 
-things that turn men 

against you. 
-how to make marriage 

a perpetual honey- 
moon. 
-the "danger year" of 

married life. 



— how to (grille love — 
bow to keep it naming 
— how to rekindle ll if 
burnt out. 

— how to rope with the 
" bunting Instinct" In 
men. 

— how to attract people 
you like. 

— why some men and 
women are always lov- 
able, regardless of age. 

— arc there any real 
grounds for divorce? 

— how to Increase your 

desirability In a man's 

eye. 
— how to tell if someone 

really loves you. 
— things that make a 

woman "cheap" or 

"common." 



you right about these precious things and 
you will be bound to admit that Madame 
Glyn, who has made a life study of love, 
has written the most amazingly truthful 
and the most downright helpful volume 
ever penned. She warns you gravely, she 
suggests wisely, she explains fully. 

We admit that the book is decidedly daring. It had 
to be. A book of this type, to be of real value, could 
not mince words. Every problem had to be faced 
with utter honesty, deep sincerity, and resolute cour- 
age. But while Madame Glyn calls a spade a spade, 
while she deals with strong emotions in her frank, 
fearless manner, she nevertheless handles her subject 
so tenderly and sacredly that the book can safely 
be read by any man or woman. 

Certain shallow-minded persons may critiesie 
"The Philosophy of Love." Anything of such an 
unusual character generally is. Hut Madame Glyn 
is content to rest her world-wide reputation on this 
book — the greatest masterpiece of love ever attempted ! 

SEND NO MONEY 

YOU need not advance a single penny for "The 
Philosophy of Love." Simply fill out the cou- 
pon below — or write a letter — and the book will be 
sent in plain wrapper on approval. When the post- 
man delivers the book to your door — when it is 
actually in your hands — pay him only $1.98, plus 
a few pennies postage, and the book is yours. Go 
over it to your heart's content — read it from cover 
to cover — and if you are not more than pleased, 
simply send the book back in good condition within 
five days and your money will be refunded instantly. 

Over 75,000,000 people have read Elinor Glyn's 
stories or have seen them in movies. Her books sell 
like magic. "The Philosophy of Love" is the su- 
preme culmination of her brilliant career. It is des- 
tined to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be exceedingly 
difficult to keep the book in print. It is possible 
that the present edition may be exhausted, and you 
may be compelled to wait for your copy, unless you 
mail the coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get your pencil — fill out the coupon below. Mail 
it to The Authors' Press, Auburn, X. Y . before it 
is too late. Then be prepared for the greatest thrill 
of your life! 



The Authors' Press, Dept. 385, Auburn, N. Y. 

Please send me on approval Elinor Glyn's master- 
piece, "The Philosophy of Love." When the post- 
man delivers the book to my door, I will pay him 
only $1.98, plus a few pennies postage. It is under- 
stood, however, that this Is not to be considered a 
purchase. If the book does not in every way conic 
up to expectations. I reserve the right to return It 
any time within live days after It Is received, and 
you agree to refund my money. 



De Line Leather Edition — We hare prepared ft Limited Edi- 
tion, handsomrly honnd in Roval Bhte Genuine Leather and 
lettered in Cold, with Gold Tope and Blue Silk Markers. No 
expense spared — makes a Korieotis rift. If von t prefer 
leather edition — as most people do— simply si 
plaee a cross in the tittle square at the right, an 
postman only S2-98 pins postage. 



SQ 



Name 

Address 

City and State 

IMPORTANT -If it is possible that you may not be at home 
when the postman calls, send cash in advance. Also If you 
reside outside the U. S. A., payment must be made in i ad- 
vance. Regular Edition $2.12. Leather Edition $3.12. Cash 
with coupon. 



\Yhen you write to advcitiscis please mention PTIOTOPLAT MAGAZINE. 



H 



Photoplay Magazine — Advertising Section 





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Brief Reviews of 
Current Pictures 



[ CONTINUED FROM PAGE IO ] 

FOOL'S AWAKENING, A— Metro.— Proves that 
happiness can't be built on a lie. A picture of the 
better class. (April.) 

FOOL'S HIGHWAY— Universal.— A story of the 
Bowery, excellently done. Characters well drawn 
and played, with Mary Philbin heading the list. 
Good entertainment. (May.) 

FORTY-HORSE HAWKINS — Universal. — A 

good comedy well handled, starring Hoot Gibson as a 
village jack-of-all-trades. (July.) 

GALLOPING ACE, THE— Universal.— A Jack 
Hoxie Western, with Jack doing some of his best rid- 
ing and heroic deeds. (June.) 

GALLOPING FISH, THE— First National.— 
Trained seal supported by Louise Fazenda and Sydney 
Chaplin. Slapstick, but funny. (June.) 

GALLOPING GALLAGHER— F. B. O.— An 

amateurish Western, Fred Thomson being the re- 
deeming feature. Comedy is awful. (June.) 

GAMBLING WIVES— Arrow.— An amazing con- 
glomeration of fast house parties, cabarets and 
gambling rooms. Just usual. (June.) 

GIRL SHY^Pathe — All the laughs and all the 
thrills that one expects in a Harold Lloyd picture. 
Fun fast and furious from start. (June.) 

GIRL OF THE LIMBERLOST— F. B. O.— In- 
teresting and human. The novel transferred to the 
screen by the author herself. (July.) 

GOLDFISH, THE— First National. — Constance 
Talmadge finally succeeded in getting back on 
familiar ground — a sparkling comedy with this 
comedienne at her best. (July.) 

GOVERNOR'S LADY, THE— Fox.— A most ap- 
pealing picture, at times touching greatness. Pathos 
well done. (March.) 

GREAT WHITE WAY, THE— Cosmopolitan — 
Well worth the money. A personally conducted tour 
of New York, well acted. (March.) 

GRIT — Hodkinson. — Glenn Hunter in a play of 
gangsters and the underworld. Not new, but fairly 
interesting. (March.) 

HALF-A-DOLLAR BILL— Metro. — Interesting 
and well played story of waif adopted by a sea 
captain. (February.) 

HAPPINESS — Metro. — A very thin story, adapt- 
ed from J. Hartley Manners' play, with Laurette 
Taylor as the saving grace. For the family. (May.) 

HEART BANDIT, THE— Metro.— Viola Dana is 
good as a tough little crook who is later redeemed by 
mother love. (March.) 

HER REPUTATION— First National.— A flood, 
a forest fire and a persecuted heroine, all good. Plenty 
of thrills. (March.) 

HER TEMPORARY HUSBAND— First National. 

— A riotous comedy, full of laughs. (February.) 

HERITAGE OF THE DESERT, THE— Para- 
mount. — A Zane Grey story, as good as all his 
Westerns are. Ernest Torrence best of the cast as 
usual. (April.) _ 

HILL BILLY, THE — United Artists.— Jack Pick- 
ford in a truly appealing role. His best, picture in a 
long time. (June.) 

HIS DARKER SELF— Hodkinson.— Framed orig- 
inally for Al Jolson and done by Lloyd Hamilton, it 
proves Jolson should have done it. (June.) 

HIS FORGOTTEN WIFE— F. B. O.— The third 
of the Palmer'prize pictures, and up to the standard 
of the others. The war is in this one. (June.) 

HIS MYSTERY GIRL— Universal. — The old 
story of a serious man who gets a little lesson in 
romance. Herbert Rawlinson is good. (March.) 

HOODMAN BLIND— Fox.— An oldstage favorite 
made into a most entertaining picture. Melodrama 
with ideas. (March.) 

HOOK AND LADDER— Universal.— Hoot Gib- 
son as a fireman, with a pretty love story and lots 
of comedy. Family picture. (March.) 

HOOSIER SCHOOLMASTER, THE— Hodkin- 
son. — A worthy effort to picturize an old best-seller, 
but it's rather too slow. (June.) 

HUMMING BIRD, THE — Paramount. — The 
best thing Gloria Swanson ever has done. One of the 
best pictures of months. (April.) 



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ICEBOUND — Paramount. — Another William de 
Millc etching. Restraint is the keynote. Handled 
by a less able director, it might have been drab, but 
lie makes it live. (May.) 

INNOCENCE — Apollo. — An ineffective melo- 
drama with Anna Q. Nilsson as a redeeming feature. 
(March.) 

IN THE PALACE OF THE KING— Goldwyn.— 
A good story, beautifully mounted but carelessly told. 
Direction not good. (February.) 

JACK O' CLUBS — Universal. — Lots of trouble 
for no reason, except to be photographed. (April.) 

JEALOUS HUSBANDS— First National.— Ordi- 
nary, with the only outstanding feature the work of 
Jane Novak. (April.) 

JUDGMENT OF THE STORM— F. B. O — The 

Palmer School's prize photoplay, very interesting and 
witli a charming love story. (March.) 

JUST OFF BROADWAY— Fox.— A swiftly mov- 
ing crook drama, with plenty of thrills and excite- 
ment. (April.) 

KENTUCKY DAYS— Fox.— Old Kentucky again 
with "Covered Wagon" trimmings. Just fair. (May.) 

KING OF WILD HORSES— Pathe.— A remark- 
able picture because of the work of the camera man. 
Shots of wild horses never equalled. The Black a 
worthy star. (June.) 

LADIES TO BOARD.— A Tom Mix comedy, with 
Tonyadded. Mix pulls a lot of his best stunts. (April.) 

LADY OF QUALITY, A— Universal. — A charm- 
ing story, excellently played by Virginia Valli and 
capable cast. (February.) 

LAW FORBIDS, THE— Universal.— Again Baby 
Peggy, to whose talents the story has been sub- 
ordinated. A pretty good picture, too. (May.) 

LEAVE IT TO GERRY— Ben Wilson.— A mild 
juvenile comedy, which is amusing and innocuous. 
Boarding school scenes are good. (May.) 

LET NOT MAN PUT ASUNDER— Vitagraph.— 
One of the worst ever made. (April.) 

LIGHT THAT FAILED, THE— Paramount.— 

In spite of the liberties taken with Kipling, a good 
picture, excellently acted. (February.) 

LILIES OF THE FIELD— First National.— A 
story of the sisterhood that "toil not, neither do they 
spin," with Corinne Griffith as the feature. For 
adults. (May.) 

LISTEN LESTER— Principal. — Adapted from a 
musical comedy popular some years ago and modern- 
ized to include bootleggers. Fast and full of tricks. 
(July.) 

LONE WOLF, THE— Paramount. — A revival of 

an old favorite with plenty of intrigue and adventure 
and love interest. Worth seeing. (July.) 

LONE WAGON, THE— Sanford.— If it hadn't 
been for the "Covered Wagon," this wouldn't have 
been made. Who cares? (May.) 

LOVE LETTERS— Fox.— The moral is, don't 
pour out your troubles on paper. Two sisters get 
into all sorts of woes, but few care. (May.) 

LOVE MASTER, THE— First National.— Strong- 
heart is the star, and Mrs. Strongheart the leading 
woman. The others and the story are not so much. 
(March.) 

LOVE'S WHIRLPOOL— Hodkinson. — A crook 
story of the better sort, with James Kirkwood and 
Lila Lee. Plenty of thrills and holds the interest 
always. (May.) 

LOVING LIES— Allied Producers. — Mediocre, in 
spite of Monte Blue and Evelyn Brent. (April.) 

LUCRETIA LOMBARD— Warner Brothers. — A 
good story, but the picture seems flat. Irene Rich 
scores, as does a forest fire. (March.) 

LULLABY, THE— F. B. O.— Jane Novak's best 
picture. She plays three roles and is excellent in 
each. (March.) 

MAILMAN, THE— F. B. O.— More propaganda 
for tne letter carrier. Interesting and very much for 
the family. (February.) 

MAN FROM BRODNEY'S, THE— Vitagraph — 
Wildly improbable, but also wildly exciting and, 
therefore, good entertainment. (February.) 

MAN FROM WYOMING, THE— Universal.— A 
roaring Western, with Jack Hoxie as the blustering 
hero. (April.) 

MAN LIFE PASSED BY, THE — Metro. — 
Another interesting interpretation by Percy Marmont 
of one of the lovable failures he does so well. (March.) 

MAN'S MATE. A— Fox.— John Gilbert and Renee 
Adoree do their best, but the result is pretty bad. 
(June.) 

MARRIAGE CIRCLE, THE— Warner Brothers. 
— A masterpiece of direction by Lubitsch which 
results in a strikingly amusing comedy, admirably 
acted. (April.) 



MARTYR TRAIL, THE— Capital.— What one 
brutal man can't do to two poor femalesl But regen- 
eration of the wicked and sunshine follow. (June.) 

MASK OF LOPEZ, THE— Monogram.— Another 
Western of the usual type. (February.) 

MAYTIME — Preferred. — The camera doesn't 
help this dainty musical play. (February.) 

MEN — Paramount. — Typical Pola Negri film con- 
cerning an actress who is the idol of Paris. Not for 
children. (July.) 

MILE-A-MINUTE MORGAN— Sanford.— "Just 
another movie" and about as poor as possible. (June.) 

MILE-A-MINUTE ROMEO— Fox.— Tom Mix 

again— dauntless as ever — and, with the help of Tony, 
just as entertaining. (June.) 

MIRACLE MAKERS, THE— Asso. Exhibitors.— 
The pure-heroine-and-Chinese-den formula. (Feb.) 

MLLE. MIDNIGHT— Metro.— Mae Murray in a 
black wig which somehow detracts from her usual 
allure. Mexican locale and mix-ups. Fair. (July.) 

MORAL SINNER, THE— Paramount.— Screen 
version of "Leal) Klcschna" makes a rather mediocre 
crook drama. (June.) 

MRS. DANE'S CONFESSION— F. B. O— An 

old picture revived because of the notoriety of Count 
Salm, who is in it. (May.) 

MY MAN — Vitagraph. — Dustin Farnum as a cave 
man political boss. Just passable. (April.) 

NAME THE MAN— Goldwyn.— A Hall Caine 
story with the long arm of coincidence stretched out 
of shape. (February.) 

NEAR LADY, THE— Universal.— Poor comedy, 
with the titles the poorest. (February.) 

NELLIE, THE BEAUTIFUL CLOAK MODEL— 

Goldwyn. — An old thriller, done with a sense of 
humor which makes it well worth while. (April.) 

NET, THE— Fox.— If you like Bertha M. Clay 
novels, you might see this one. (April.) 



NEXT CORNER, THE— Paramount- 
good. Direction is bad and picture drags. 



■Not so 
(April.) 



NIGHT HAWK, THE — Hodkinson. — Harry 
Carey at his best in a Western drama with plenty of 
plot and riding. (June.) 

NIGHT MESSAGE, THE— Universal.— Melo- 
drama based on a Southern family feud. Also, pretty 
well done. (June.) 

NO MORE WOMEN— Allied Producers.— All 
right if you've nothing else to do. (April). 

NO MOTHER TO GUIDE HER— Fox.— If you 

like melodrama, this will please you. Genevieve 
Tobin as a sort of perfect specimen. (May.) 

NORTH OF HUDSON BAY— Fox.— An excellent 
story of the Far North, with Tom Mix as hero. Filled 
with thrills and well worth seeing. (April.) 

NORTH OF NEVADA— F. B. O— An old story 
with good Western stuff in it — the fight on the cliff 
and other sure-fire features. (May.) 

OLD FOOL, THE— Hodkinson.— Starts with a 
good idea, but loses it in favor of conventional crook 
story. (March.) 

ON TIME — Truart. — Richard Talmadge doing 
athletic stunts around a very poor storj\ (May.) 

OTHER MEN'S DAUGHTERS — Apollo. — A 
sporty father meets his daughter at a swift party, but 
all ends happily. (March.) 

PAGAN PASSION— Selznick.— Starts well, but 
gets off the track and becomes tiresome. (June.) 

PAINTED PEOPLE— First National.— A story of 
a small town girl who becomes a real somebody. 
Colleen Moore's work excellent. (April.) 

PHANTOM JUSTICE — F. B. O. — Rod La 
Rocque with a toothache in a weird and wild melo- 
drama. (March.) 

PHANTOM RIDER, THE— Universal.— Jack 

Hoxie in the kind that has made him popular. His 
riding is worth the price. A very good Western. (May.) 

PIED PIPER MALONE — Paramount. — Tom 
Meighan's new one and as likable as Tom himself 
Simple and charming. (Abril) 

PIONEER TRAILS— Vitagraph.— Imitation of 
"The Covered Wagon" without the virtues of that 
record-breaker. (February.) 

POISONED PARADISE — Preferred. — Again 
someone tries to break the b ink at Monte Carlo, but 
Clara Bow is the only winner, getting the boy she 
loves. Formula. (May.) 

PREPARED TO DIE— Johnnie Walker.— A good 
idea gone wrong, except for Eddie Polo. (March.) 

PRINCE OF A KING, A— Selznick.— Little 
Dinky Dean is the star and all children and most 
grown-ups will like it. (March.) 




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Photoplay Magazine — Advertising Section 



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Brief Reviews of Current Pictures 

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PURE GRIT— Universal.— The Western formula, 
with Roy Stewart heading the cast. (March.) 

RED WARNING, THE— Universal.— Even Jack 
Hoxic gets out of breath keeping up with the story in 
this thriller. (February.) 

RENDEZVOUS, THE— Neilan-Goldwyn. — The 
love story of an American soldier and a Russian prin- 
cess, delightfully produced by Marshall Neilan. 
(March.) 

RENO — Goldwyn. — Rupert Hughes' argument for 
a uniform divorce law. For adults. (March.) 

RESTLESS WIVES — Commonwealth. — Hard- 
working husbands, bridge-playing wives and other 
conventionalities. (March.) 

REJECTED WOMAN, THE— Distinctive.— Fine 

story served with thrills. All about opera singer 
(Alma Rubens) who loses her voice and wins a 
husband. (July.) 

RIDGEWAY OF MONTANA — Universal. — 
Typical Western thriller with hero and virtue winning 
out. As usual, great riding by Jack Hoxie. (July.) 

RIDERS UP — Universal. — An old favorite. 
Creighton Hale, in a good role. That of a racetrack 
wastrel whose family thinks he is a good boy. The 
girl knows he isn't and loves him anyway. Good 
picture. (July.) 

RIDE FOR YOUR LIFE— Universal.— And Hoot 
Gibson does — for his own and other lives. There's 
little else to it. (May.) 

ROUGH RIDIN'— Approved.— Just a regular 
Western with lots of action and little novelty. (June.) 

ROULETTE — Selznick. — The perils of the gaming 
table again, but with a good cast. Nothing to get 
excited about. (May.) 

SATIN GIRL, THE— Apollo.— Lady crook fools 
the whole police force, as usual. (February.) 

SECRETS— First National. — A charming picture, 
with Norma Talmadge as star. Don't miss it. (April.) 

SECOND YOUTH— Goldwyn.— A comedy that, 
instead of being funny, is ludicrous. Just bad, that's 
all. (June.) 

SHADOWS OF PARIS— Paramount.— Pola Negri 
as an Apache — one of the types she does so well. 
Well directed. Worth seeing. (May.) 

SHEPHERD KING.THE— Fox.— An interesting 
story of David the Psalmist, done by a capable 
Italian company. (February.) 

SHERLOCK, JR.— Metro.— Buster Keaton with 
a new bag of tricks. Don't miss it if you like Buster. 
This time he is an amateur sleuth. (July.) 

SHOOTING OF DAN McGREW, THE— Metro. 
— Only fair, and it should have been excellent, with 
such a theme and cast. (June.) 

SILENT STRANGER, THE— F. B. O — The 

great open spaces, mail robbers, a handsome stranger, 
the poor girl and the rest. (June.) 

SINGER JIM McKEE — Paramount.— A typical 
Bill Hart picture which surely will please all his ad- 
mirers. (June.) 

SIX-CYLINDER LOVE— Fox.— A light and 
amusing comedy, well handled, with Ernest Truex 
doing excellent work. (February.) 

SLAVE OF DESIRE— Goldwyn.— Balzac's "The 
Magic Skin" in celluloid. Rather vague, but Bessie 
Love and Carmel Myers are good. (February.) 

SOCIETY SCANDAL, A— Paramount.— Another 
surprise by Gloria Swanson. Totally different type 
from "The Humming Bird," but none the less well 
done. Well worth seeing. (May.) 

SONG OF LOVE, THE— First National.— Norma 
Talmadge as an Arab dancing girl and very much 
worth while seeing. (March.) 

SOUTH SEA LOVE— Fox.— Shirley Mason is 
good in a mediocre and unconvincing story. (Feb.) 

SPORTING YOUTH— Universal.— An auto rac- 
ing picture of the type Wally Reid used to do, with 
Reginald Denny as hero. Good. (April.) 

STEADFAST HEART, THE— Goldwyn. — Al- 
though the story is rather improbable, the capital 
acting of little Joseph Depew makes it worth while. 
(March.) 

STEPHEN STEPS OUT— Paramount.— The first 
and only picture of Douglas Fairbanks, Jr.. for Para- 
mount. And pretty good at that. (February.) 



STOLEN SECRETS— Universal.— Another crook 
drama with a pretty girl solving the mystery and 
reforming the chief crook. (May.) 

STORM DAUGHTER, THE— Universal.— Pris- 
cilla Dean in an interesting and well-acted drama of 
the sea. But it ends too suddenly. (June.) 

STRANGER FROM THE NORTH— Biltmore.— 

The only difference is that, in this one, the city feller 
makes good. (June.) 

STRANGER, THE— Paramount.— This picture 
starts slowly, but picks up and tells an absorbing 
story in direct and effective fashion. (April.) 

SUPREME TEST, THE— Renown.— The country 
boy in the wicked city, the mortgage on the farm and 
the rest. (March.) 

TELEPHONE GIRL, THE— F. B. O— A screen 

version of the slangy Witwer story, with Alberta 
Vaughn, a clever comedienne, as the fresh telephone 
operator. Amusing. (May.) 

TELEPHONE GIRL, THE— F. B. O — Another 

of the series of hilarious comedies from the short 
stories of H. C. Witwer, called "The Square Sex." 
Only fair. (July.) 

TEN COMMANDMENTS, THE— Paramount.— 

One of the greatest pictures ever made. A wonderful 
entertainment and a marvelous sermon. The color 
prologue wondrously fine. (February.) 

THIEF OF BAGDAD, THE— United Artists.— 
Doug Fairbanks' latest and greatest. A picture of 
nagic and beauty. The Arabian Nights brought to 
life. Should be seen by everyone. (May.) 

THIS FREEDOM— Fox.— An English company, 
headed by Fay Compton, makes the Hutchinson 
story fairly entertaining. (February.) 

THREE MILES OUT — Kenna. — Madge Ken- 
nedy and a lot of rum pirates provide plenty of laughs. 
Good entertainment. (March.) 

THREE O'CLOCK IN THE MORNING — C. C. 

Burr. — Unconvincing story, with Constance Binney 
as a jazz-mad girl who dances beautifully. (May.) 

THREE WEEKS— Goldwyn.— A lavish picturiza- 
tion of Elinor Glyn's novel, with lovely settings. (Apr.) 

THRILL CHASER, THE— Universal. — Hoot 
Gibson goes to Hollywood and thence to Arabia, 
becoming a sheik. (February.) 

THROUGH THE DARK— Cosmopolitan.— A 

Boston Blackie crook story, dealing with the re- 
demption of a man through a woman's faith. — 
(March.) 

THUNDERGATE— First National.— Convention- 
al story with scenes in China. Owen Moore good. 
(March.) 

THY NAME IS WOMAN— Metro— A tragedy.told 
simply and effectively, with some beautiful sets and 
photography. Barbara La Marr excellent. (April.) 

TIGER ROSE— Warner Brothers.— Excellent 
adaptation of the stage play, with Lenore Ulric in her 
original role. (February.) 

TO THE LADIES— Paramount. — A joyous enter- 
tainment and — incidentally — Director James Cruze's 
fourth successive hit. (February.) 

TRAIL OF THE LAW, THE— Biltmore.— Old 

formula of country girl and city chap, and not well 
done. (April.) 

TROUBLE SHOOTER, THE— Fox.— Tom Mix 

in a part that lets him act. A simple story sustained 
by his straightforward acting and enlivened by little 
Kathleen Key. (July.) 

TRY AND GET IT — Hodkinson. — An impossible 
story, but with many laughs. Bryant Washburn and 
Billie Dove in cast. Good entertainment. (June.) 

TWENTY DOLLARS A WEEK— Selznick.— 
George Arliss in a comedy that is by no means worthy 
of him. A weak farce. (June.) 

TWENTY-ONE— First National.— The 1924 mod- 
el of Richard Barthelmess in an interesting, but not 
great, picture. (February.) 

TWO WAGONS, BOTH COVERED— Pathe.— 

One of Will Rogers' burlesques and a clever one. 
Great, if you've seen "The Covered Wagon." (April.) 

UNCENSORED MOVIES— Pathe.— Will Rogers 
impersonates stars and isn't very funny. (February.) 

UNKNOWN PURPLE, THE — Truart. — Less 
thrilling than the stage version but nevertheless 
worth seeing if you like suspense. (February.) 



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Photoplay Magazine — Advertising Section 



l 7 



UNTAMED YOUTH— F. B. O.— A pretty good 
story of a gypsy (Derelys Perdue) whose unconven- 
tional ways merit the disapproval of the small town 
and the love of the village catch. (July.) 

VAGABOND TRAIL, THE— Fox.— Again the 
brawn of Buck Jones conquers all wickedness. (May.) 

VIRTUOUS LIARS— Vitagraph. — Good cast, but 
a conventional story and not very exciting. (June.) 

WANTED BY THE LAW — Aywon. — Neither 

worse nor better than a hundred other Westerns. 

I July.) 

WANTERS, THE— First National.— Wealth, fine 
cloches. Fifth Avenue, and the moral that we don't al- 
ways want what we think we do. (June.) 

WATERFRONT WOLVES— Renown.— The title 
tells everything except how bad it is. (May.) 

WEEK END HUSBANDS— F. B. O — The picture 
is weak at both ends and in the middle. (April.) 

WEST OF THE WATER TOWER— Paramount. 
— An exceptionally good picture, in spite of the 
cutting and changes, required by censorship. (March.) 

WHEN A MAN'S A MAN— First National.— A 
Harold Bell Wright story, well made. You will like it 
if you favor Westerns. (April.) 

WHEN ODDS ARE EVEN— Fox.— William Rus- 
sell wins the mine and the pretty girl again. (Feb.) 

WHICH SHALL IT BE— Hoffman.— A picturiza- 
tion of an old poem with real sentiment and heart 
appeal in it. Very much worth while. (June.) 

WHIPPING BOSS, THE— Monogram.— Based 
on the peonage system. Tells brutal truths but is 
unpleasant. (February.) 

WHISPERED NAME, THE— Universal.— Inter- 
esting and full of action, with Ruth Clifford doing 
excellently. (March.) 

WHITE SIN, THE— F. B. O.— The second Palmer 
Photoplay story and well up to the standard of 
"Judgment of the Storm." Interesting throughout. 
(May.) 

WHITE TIGER— Universal.— A crook story with 
plenty of thrills and a conventional ending. (Feb.) 

WHY ELEPHANTS LEAVE HOME — Pathe. — 
I nteresting film of trapping of elephants. (February.) 

WILD BILL HICKOK— Paramount. W. S. 
Hart's return to the screen in a picture filled with 
gunplay and other stunts his admirers like. (Feb.) 

WILD ORANGES— Goldwyn.— An interesting 
and gripping picture, based on Hergesheimer's weird 
story of fear. (March.) 

WINGS OF THE TURF— Fidelity.— A racing 
melodrama, brought from England, and as good as 
the usual home product. (April.) 

WOLF MAN, THE— Fox.— John Gilbert at his 
best in a Jehyl-and-Hyde sort of role. A bit grue- 
some at times, but with redemption at the end. (May.) 

WOMAN WHO SINNED, THE— F. B. O — 

Melodrama with the hackneyed moral that if a 
woman leaves her good, faithful husband ana chee-ild 
for a ne'er-do-well, she's bound to be sorrv even- 
tually. (July ) 

WOMAN TO WOMAN— Selznick.— Betty Comp- 
son, always charming, in a picture that grown-ups 
will like. (February.) 

WOMEN WHO GIVE— Metro.— A story of the 
sea and the fishing fleet. Conventional, but interest- 
ing, with a good storm scene. (May.) 

YANKEE CONSUL, THE— Associated Exhibit- 
ors. — A remarkably fine comedy, with Douglas 
McLean as star. By no means miss this. (April.) 

YANKEE MADNESS— F. B. O— Thin story, but 
lots of action in a Central American revolution. Good 
if you like excitement. (June.) 

YESTERDAY'S WIFE— Apollo.— Conventional 
triangle story with nothing new. (February.) 

YOLANDA — Cosmopolitan. — A gorgeous spec- 
tacle, beautifully staged, but with a weak story 
Worth regular prices, but no more. (May.) 



To her husband a woman must be a well 
stocked furniture store: at times a door-mat, 
a sofa-cushion, a step-ladder or a looking- 
glass. — Town Topics. 



Yours truly, 

John Smith 



ALL the world despises an anonymous 
-"■ letter. We like a man to sign his 
name to what he writes. 

But did you ever think that unknown 
merchandise is anonymous? Nobody 
to vouch for it. No name signed. 

Notice the advertisements in this 
publication. There in bold print are the 
names of those who stake their reputa- 
tions — stake your good-will towards 
them on the truth of what they have 
written. 

The maker of advertised goods realizes 
that he might fool you once — but never 
the second time. His success is depend- 
ent upon your continued confidence in 
what he says in the advertisements. 

Read the advertisements with confi- 
dence. They tell truths that you should 
know. 



The measure of satisfaction is larger 
in advertised products 



When sou write to advertisers please mention PIIOTOPi.AY MAGAZINE. 



i8 



Photoplay Magazine — Advertising Section 



Ujhat particular skin problem 
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WOODBURY'S FACIAL SOAP 

Every advertisement. In PHOTOPLAY MAGAZINE is guaranteed. 




Edward Thayer Monroe 



J\[ew 
(Pictures 



SLOE-EYED, and darkly beautiful, Nita 
Naldi has drawn upon the screen a succes- 
sion of unforgetable portraits of women 
who love not wisely but with great effect. 
Remember her brilliant work in "Blood 
and Sand" and "The Ten Commandments" 



1 




Edwin Bower Hesser 



THIS little miss is the daughter of one of the screen's first heroines who retired to marry 
shortly after making a bid for immortality in "The Birth of a Nation" and has recently 
returned. Who? Mae Marsh, of course! And her vest pocket edition is Mae Marsh Arms 




Roasell Bnli 



A COMPARATIVE newcomer, Ronald Colman's work in "The White Sister" and 
"Romola" recommended him for a leading role in "Tarnish." He is young, handsome 
and accomplished— a formidable bidder for supremacy among the heroes of the screen 




Edward Bower Hesscr 



THE personification of friendliness, Anita Stewart has held the hearts of her devotees 
since movies cost a nickel. After a period spent in mediocre pictures, she scored 
again in "The Great White Way" and is now making "Never the Twain Shall Meet" 




Wm. Eglinton 






WHEN a man as handsome as Richard Dix is popularly voted a "regular fellow" by 
the male portion of a moving picture audience, he is sitting firmly on his pedestal. 
For his fine performance in "The Ten Commandments" he is being starred by Paramount 




Apeda 



WOMANLY" is the word that suggests itself when we seek to describe Irene Rich. 
"The kind of girl every man dreams of as his wife" is what one admirer said of her. 
Her recent intelligent interpretation of "Fanny" in "Cytherea" has won her fresh laurels 




I'nch Bros. 



LUCY FOX, an intelligent young actress, who after a long series of "bits" has arrived 
J and is expected to go much farther in the next year. She has recently completed 
"Miami" in support of Betty Compson, and will be seen soon in "The Wise Virgin" 





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I 1H24. by The IV. .our A (Jumble Co., Cincinnati 



Volume XXVI 



The "Rational Quide to ^Motion Pictures 



Number Three 



PHOTOPLAY 



August, 1924 




Speaking of Pictures 



By James R. Quirk 



THE theory that sex attraction is the key to success on the 
screen must have originated with producers who managed 
"The Streets of Cairo'' shows in carnival days. It may get 
fly-by-night money but it does not make for durable success. 
On the contrary, it is a boomerang. When Theda Bara vamped 
sensationally out from the Sahara she stopped traffic every- 
where. Francis X. Bushman arose at much the sky-rocket rate 
of Valentino. Both Theda and Francis are now in eclipse, while 
Lillian Gish, Mary Pickford, Chaplin, Lloyd, Meighan and 
Fairbanks glow resplendently on. Photoplay's recent canvass 
of live thousand exhibitors to determine the eight greatest box- 
office attractions for Photoplay resulted unconsciously in an 
explosion of the sex-attraction theory. The winning eight were 
Thomas Meighan, Norma Talmadge, Harold Lloyd, Tom Mix. 
Mary Pickford, Douglas Fairbanks, Gloria Swanson, Pola 
Negri. Not one of them holds the screen by virtue of sex 
appeal. They may possess it but they don't flaunt it. Instead 
of attempting to emulate Bella Fatitna, the canny player might 
learn of Duse, who, decrepit and on the verge of death, was a 
boxoffice sensation of this era. 

A HIGHLY respected bootlegger of Hollywood, having 
amassed a fortune, is going ih for producing pictures. His 
first will be a patriotic film. 

THERE'S nothing that will kill a young actor more quickly 
outside of heart trouble than personal appearances. The 
youth arrives at the studio with a dress suit, a bottle of stacomb 
and a profile. After three pictures he is an artist. Even he can 
be persuaded into believing it. The next thing is the personal 
appearance at an opening night, a benefit or most any other old 
excuse. The master of ceremonies introduces him from the 
wings, atomizing him with such flowery phrases that by the 
time he gets on to the stage the daisies are sprouting out of his 
chest and the audience is ready to applaud anything from a cop 
to a burglar. He bows, bleats and bungles off. And the Tillies 
down front resume their chewing gum with a mumbled, "For 
Gossakes, I never knew he was like that, didcha see his Adam's 
apple?" 

HAROLD LLOYD never makes personal appearances. Har- 
old Lloyd is the shrewdest showman in the business; no 
mere actor is Harold. He once gave his analysis to me. "The 
fans don't like us at all," he said. "They like the idea they in- 
vent around us. They doll us all up with black eyes, golden 
hair, six feet of brawn and a voice like Caruso's. Then we 
come out with red hair, green eyes, freckles and a squeak in 



the upper register. But if we turned out to be Apollo some one 
would be disappointed; some one would have expected Adonis or 
Hercules." 

Only the actor who is fading in screen popularity can afford 
to take the stage and fracture illusions. I advance the following 
axiom — The first. sign of a star's disappearance: his personal 
appearance. 

TAKE your choice: "Island Wives." "Single Wives," 
"Gambling Wives," "Foolish Wives," "Daytime Wives," 
"Restless Wives." 

No wonder we have " Wandering Husbands " and " Week-end 
Husbands." The wonder is that we have any at all. 

WHERE Art Is Born: It was Corinne Griffith's set in the 
United studios. Miss Griffith and her players were 
patiently awaiting the director's word to turn on the emotion. 

Carpenters are hammering all around. 

"Lights!" bawls the director. 

An assistant blows a whistle. 

The lights blare on, madly spluttering. 

A gong and a whistle sound, the signal for the hammering to 
cease. The hammering continues. 

"Camera!" howls the director. 

The camera grinds, the hammers pound, the players act. 

The actors finish, a whistle, the lights splutter out, a gong for 
the hammers to start again, the hammers blandly continue. 

And so all over again, again, and again, howls, whistles, 
gongs, splutter and hammers. But if the world could be 
created out of chaos I suppose art can too. 

AX advertisement which explains why censors have shear-: 
"Famous Murders of History — Julius Caesar. Thomas 
;i Beckett, Abraham Lincoln, Jack de Saullcs. Joseph El wood, 
Jacques Lebaudy, Dorothy King — and — The Shooting 01" Dan 
McGrcw." 

If the alignment of Abraham Lincoln with such an unsavory 
crew as de Saullcs, Lebaudy and Dorothy King is not enough 
to incite to murder I don't know what i-. The author of that 
advertisement deserves to be murdered and buried without rite-. 

THE following subjects are listed as Educational Film-: 
Getting Gertie's Goat. 
Dizzy Daisy. 
Tootsie WootMe. 
And here I had an education all the time and didn't know it. 
I shall immediately ask for a college man's salary. 



Bebe Daniels 

shows you how to wear the 

New Scarfs 



Scarfs by courtesy of Jay-Thorpe, New York 



ORIGINATED by the smart Frenchwomen at Deauville, the 
fashionable watering resort, the popularity of the scarf which 
has been named after that place has spread all over the world. 
Every color of the rainbow is being used. They are made up in 
silks, batiks, crepes and chiffons in many styles, from the long 
muffler effect with fringe to the handkerchief style which Miss 
Daniels, who has always been fond of them, wears in these illustra- 
tions. When she was told that the readers of Photoplay would 
appreciate her aid in demonstrating how she wears them, she 
graciously spent hours of her time to assist them. Just like Bebe. 
"No matter how plain or simple your costume," she says, "wrap 
a jaunty scarf about you, and you're all dressed up." 



]\'c must admit ii great ml mi ra- 
tion for the gypsy-like effect pro- 
duced Inlaw by tying one end of 
the long scarf around the head 
and letting the scarf fall down in 
bach la be caught over one arm, 
but unlet* you hare Bebe's dark 
eyes and dusky hair we wouldn't 
recommend it for popular usage 






At right — For the polo game or to 
wear as a spectator at a golf tour- 
nament, Miss Daniels selects a set 
of white flannel trimmed with 
green kid. The scarf is doubled 
and the trimming is on both sides 
so it can be thrown orcr the shoulder 
or worn, straight. The front of the 
hat is of kid, the back of flannel 



Bebe says that in this picture she "wears a good game of golf ." 
If you don't think she plays — look at the glove. The scarf is 
square, folded into a triangle and then Limited over one 
shoulder. It is painted yellow on ichite to match the yellow 
flannel sleeveless jacket and skirt. The hat is yellow milan 



28 




This variation is obtained by crossing the ends of the scarf in 

front, bringing the longest side around the waist and tying the 
ends in a knot at the side. The effect is a pleasing impression 
of completeness and finish. Ami if you wear it this way 
you won't be in danger of Josing your handsome scarf 



At extreme lef — Tin l< nnis. Miss 
Daniels lies a ha ndl:errh ief searf 

ofbatik in cerise and whiU around 

her hair and, after llii game, tlirmrs 

a lung ■painted scarf loosely ovtt 

her ahoaldcra 



At left — The same long searf mill/ 
Ik worn this way for general sport 
near. CTOSSed in front and hung 

unevenly over each shoulder 



Tin bizarre note below is effected 
by winding one end of the searf 

around one arm and inuring the 

other side loosely over ih< other 

shoulder. The sport hal is blue 
and white milan and the founda- 
tion of the costume the correct, 

conservative white angora sweater 
and pleated silk skid 






The Enchanted Cottage of Dick, 



Out at Orienla Point, Mamaroneck, 
X. V.. close to the Griffith studio, Richard 
Barthelmess is /nuking a home. Indeed, 
tht place is almost within, the shadow of 
the Griffith "lot," where Dick portrayed 
the hero of " 'Way Down East." It was 
while playing this role that Dick married 
Mary Hay, who also had a part in the 
production. At the left, Dick and Mary 
may be observed on ih< y lunch close to 
" ]). W.'s " fa mo us st udio 







. 



Mary, and Mary II Barthelmess 



.4/ the right is a brand new portrait of 
Mary Hay Barthelmess, otherwisi Mary 

II. Below is the house, built originally 
for Helen. Gould. It is a picturesqm old 
residence of twelve rooms and is sur- 
roundedby an estate of three acres. Lang 
Island Sound is close by, within sight of 
the house. Barthelmess has been spend- 
ing the past few mouths of absence from 
Hie screen to good purpose in the enjoy- 
able task of putting the (slate in shape 




31 



It Isnt the Original Cost of 












anma 



Bobbed Hair Adds a J\[ew Item of 



IF it costs a man $25 a year to main- 
tain a $5 derby, how much does it 
cost a woman to support a $5 bob? 
The answer is anywhere from $2 
a week up, mostly "up." Estimates 
vary, but film stars and beauty experts 
agree that bobbed hair has introduced 
the item of "overhead" into the femi- 
nine budget. 

But while a few, like Billie Burke, 
are sorry they did it, most of them 
wouldn't go back to long hair, in spite 
of the trouble and expense. Even 
those who bobbed in haste and are re- 
penting at leisure aren't letting it grow. 
Anita Stewart is, but she is one of the 
rare exceptions. 

Seven million American women had 
bobbed hair when this was written. 
The number will be nearer eight mil- 
lion by the time it is printed, so fast is 
the vogue spreading. Expert hair- 
dressers who specialize in the fashion- 
able bobs are booked for days or weeks 
ahead; women are shunning the ordi- 
nary barber's clumsy efforts and seek- 
ing the specialists. Some of the 
famous New York artists have cus- 
tomers come from as far as Chicago, to 
be sure that they get the particular 
kind of bob, Dutch, boyish or clubbed, 
which will set off their individuality to 
best advantage. 

Whoever does the bobbing, that is 
only the first cost. When it comes to 
maintenance, even the girl with natu- 
rally curly hair finds that she has to 
spend either time or money, or usually 
both, every week or two, to look her 
best. And the straight-haired girl — 0, 
pity her! Especially at the seashore in 
the summer, when heat and humidity 
combine to make the daily marcel 
imperative and twice-a-day desirable. 

Lucky is the straight-haired girl 
whose face is best set off by the simple 
Dutch bob. She merely has to have 
the ends trimmed every week or two. 
But few have this type of features, 
fewer still have curly hair. With the 

32 




Fifteen dollars a day—*that's the penalty 

Norma Talmadge must pay for her 

bobbed hair charm 




Anita Stewart is letting it grow again. 

She has not found freedom from hair 

bondage, she intimates 



great majority of the bobbed-hair 
sisterhood it's a choice between learn- 
ing how to use the iron and the tight 
curlers every night, or spending money 
for the daily, semi-weekly or weekly 
marcelle and accompanying trim- 
mings. Even the permanent wave 
doesn't take care of itself, but needs 
frequent water-waving to preserve the 
natural appearance. 

And so we face the "overhead," the 
tremendous cost of upkeep of bobbed 
hair. If only half of the bobbed-haired 
women of America spend an average of 
$5 a week each to look their best, 
there's a billion dollars a year added to 
the annual feminine budget! In dollar 
bills, that's enough to carpet the Santa 
Fe tracks from Hollywood to Kansas 
City! 

The only way a man can dodge the 
upkeep cost of his derby is to park it 
under his chair or lunch where there 
isn't a hat-check girl to tip. There 
isn't any way for the bobbed-haired 
woman to dodge the upkeep cost ex- 
cept to stick around the house in a 
boudoir cap. And there you are. 

In the course of its investigation into 
the cost of maintaining a head of 
bobbed hair, of each of the distinctive 
types currently affected by American 
woman today, Photoplay Magazine 
interviewed film favorites, business 
women and hairdressing experts. Some 
of them solve the problem one way, 
some another. Out of their combined 
experience and observations as re- 
corded here, the young woman of any 
age from fifteen to fifty who is con- 
templating bobbery should find some 
helpful suggestions as to what to do 
after the fatal "snip!" has made her 
decision irrevocable. 

The problem of the business girl, to 
keep her bobbed locks up to their 
utmost of chic attractiveness, is noth- 
ing compared with that of one working 
in front of the camera. Two or three 
times the cost of long hair is the least a 



"Bobbed Hair" — It's the Upkeep 




"Overhead Charges' to Feminine Budgets 






bobbed hair film actress can get away 
with; some spend ten times what they 
did when they wore it an nature!. 

Viola Dana says she never spent a 
dollar in her life for a curl until after 
she had her hair bobbed. But even 
her naturally curly hair has to be re- 
curled every two weeks, now that it is 
short, besides being trimmed. An inch 
or two at the end of a braid doesn't 
show in the pictures, but imagine an 
inch or two difference in the length of a 
bob! 

Corinne Griffith said that it costs 
her twenty dollars a week to keep her 
hair properly arranged, since she had 
it cut. Before that the cost was 
nothing at all, as she dressed it herself, 
or had her maid do it. "Now I have 
a hairdresser come to my house every 
morning, whether I am working or not, 
and when I am working that cost is 
doubled, because I have to have some- 
one come to the studio about noon to 
go over my hair again." 

Mae Murray has a hairdresser on 
the set all the time, since she bobbed 
her hair, at a cost of eighteen dollars a 
day! "I always cared for it myself, 
with the help of my maid, when it was 
long," Miss Murray said. "Now even 
when I am not working it costs me 
about fifteen dollars a week." 

Estelle Taylor says it costs her fif- 
teen dollars a week to keep her bobbed 
hair in order when she isn't working, 
and Betty Compson figures her "over- 
head" at about the same, although 
both of these young women are ex- 
empt from the extra cost of maintain- 
ing their bobs on the set. Being 
Paramount stars their hair is cared for 
by the studio hairdressing department 
for screen appearance. But. O. what a 
difference in that department since the 
bob came in! Once "Hattie," the 
colored hairdressing expert of Para- 
mount, singlehanded, looked after the 
hairdressing of Gloria Swanson, Bebe 
Daniels, Agnes Ayres, Betty Compson, 




Gloria Swanson is one of the lucky ones 

who look their best in the straight boyish 

bob as here depicted 




Billic Burke wishes she'd never done it. 

Dressing shorn locks takes too much of 

her time, she says 



Mary Mies ."Winter and Dorothy 
Dallon; now there are four experts to 
keep the bobs in condition. And 
Estelle Taylor says that somehow she 
always has to pay the taxi fare of the 
hairdresser when she has her bob 
attended to at home, which also runs 
up the "overhead." 

Colleen Moore, with her straight or 
at least semi-straight bob, gets off 
comparatively easy. It has to be cut 
oftener than the others, but it doesn't 
take so much curling. She figures the 
cost at about five dollars a week. And 
like all the other film stars, she believes 
that the hair should be trimmed when- 
ever it is marcelled, to keep the line 
perfect. Miss Moore's is one of the 
few' straight bobs in Hollywood. 

May McAvoy is another lucky one. 
Her hair is naturally curly and does 
not have to be marcelled. Once a week 
to the barber shop: two dollars — that's 
all. 

Viola Dana says of her naturally 
curb' hair: "I have my hair water- 
waved, which takes as much time and 
costs as much money as to have it 
marcelled and I like it better that way." 

According to Alice Terry, you can't 
escape the cost of upkeep of bobbed 
hair even by going to Africa. The 
expense is as great in Tunis as in 
Hollywood, or an average of about 
fifteen to eighteen dollars a week. 
" They have just as many expert beauty 
shops in] Tunis as anywhere," said 
Miss Terry, "and they can charge just 
as high price-:." Whether a missionary 
should have bobbed hair was a ques- 
tion, for it is a missionary part Miss 
'Jerry plays in her Tunisian picture. 
But Rex Ingram came across some 
genuine missionaries with bobbed hair, 
though they didn't wear it curled. 

Since the permanent wave is not 
popular with Hollywood screen people, 
hairdressers have to be taken on loca- 
tion frequently. Phyllis Haver has 

[ CONTINUED ON PAGE lOO ] 

33 




"I hare gambled with life and lost," said the hero of Photo- 

■plajfs -short story — and here is Perci/ Marmont in this 

moment of the film version — ZaSit Pitt* on the right 



"The Legend 
of Hollywood" 

on the Screen 



IS it true — part true — or all hokum? Did he ever exist? 
Will he be found? 
These are the questions around which centers the gossip 
of Hollywood today. On everyone's tongue — at the 
studios, in the old folks' homes, at the beach and during supper 
dances — is speculation about the old yarn which has been going 
the rounds of Hollywood for years and which Frank Condon 
investigated and traced and wrote into story form as "The 
Legend of Hollywood." 

The March issue of Photoplay contained the story. Coupled 
with it was offered a thousand dollar reward for solution of the 
mystery and discovery of the missing writer about whom the 
mystery of fate revolves. 

Mr. Condon graphically related his tale of a desperate writer 
who, face to face with starvation and failure, filled seven glasses 
with wine, putting poison in one of them. Then he shifted the 
glasses about and began drinking their contents, one glass a 
day. Finally he reached the seventh glass. Obviously that 
must contain the deadly potion. The gamble with death was 
over. Just as he drank the contents came a check for a thou- 
sand dollars in payment for an accepted story. Fate seemed to 

3h 



have won, when the boarding house slavey, in love with him, 
came to tell him that she had overturned and broken one of the 
glasses. Without telling anyone she had purchased a new one 
and refilled it with wine. 

The publication of this legend started fresh and serious 
speculation. Many of our picture producers today are ex- 
writers. Many still grind out a story for the public. And most 
of them knew the legend of Hollywood by heart. For it is one 
of those rare stories that, once heard, can never be forgotten. 
But it took Renaud Hoffman to discover one way to get some- 
thing out of the story. He hasn't found the man and claimed 
the award offered by Photoplay, but he has had another idea 
on how to profit by "The Legend of Hollywood." He is mak- 
ing a picture of it. 

Percy Marmont is the struggling and despairing young 
writer. ZaSu Pitts, whom Eric Von Stroheim considers the 
greatest character actress of Hollywood, is the girl of the 
romance. Molly Davenport, a stage favorite of a generation 
ago, and for years with Mack Sennett, emerges from retirement 
to portray the landlady. Cameo, the human dog, completes 
this small cast. 




1'iioto taken by Gene Kornmaa especially f>T Pii.jtoplv 



Presenting Mildred Gloria Lloyd 



T. 



HE whole Lloyd family, including the center of all Hollywood's interest, the six-pound daughter 

L of Mr. and Mrs. Harold Lloyd. The proud parents have seen to it that little Miss Lloyd starts life 
with the loveliest wardrobe and nursery in celluloidia. Incident illy, Harold announces. Mildred is to 
return to the screen in "Alice in Wonderland." Details will be found in the news columns of this ; 



o m an c e , Tingling 




A synopsis of preceding chapters of 
"The Story Wif/iout aTsJdme" will be 
found at the end of this instalment 



Ai 



ByArth 



Chapter III 

LAN HOLT lay back in the 
ilano cock-pit, the wash of cool 
air hardening the blood on his 
"forehead and clearing the fog 
from his brain. He saw, when lucid 
thought returned to him, that he was 
bound and trussed there with wires 
hastily caught up from his own tower. 
And he further saw, on looking as care- 
fully about as his cramped position 
would allow, that his captors had made 
a good job of it. His legs were tied to- 
gether and his hands were even more closely hooped to his side. 
Yet as he studied these constricting hoops he noticed that 
the end of one wire protruded from the coil about his arms. 
And on that inch of protruding metal, he felt, hinged his hopes. 
By shifting his body in its cramped quarters he was able to 
hook this wire-end under a fuselage-brace. Then by twisting 
his torso he was able to free an additional two or three inches of 
the metal. He repeated the operation, as the pit-floor vibrated 
and rose and fell in its flight, until a foot of wire hung loose from 

36 



The Story Without 
a Name . 

Stringer 



Author of "Phantom Wires," "The Wire Tappers," 
Manhandled" and othei stories. 



'Empty Hands, 
Illustrated by Douglas Duer 



his aching biceps. By writhing on this he loosened a se ond 
strand, which he was able to snag over a protruding bolt-head, 
where, bracing himself, he pulled with all his weight. The wire 
finally broke under the strain. He repeated the operation, until 
the pressure about his arms was relaxed. He found, by ex- 
panding his lungs and straining his muscles, he could still fur- 
ther expand the coils holding him in. He could even shift the 
position of his right arm a little, so that his liberated fingers 
were finally able to pick at the metal threads about his wrists. 



with Love, Mystery and Thrills 




$5 



,000 in Cash 
for a Title 



Alan catapulted his pinioned bod;/ 
against Drakma, who sent him falling 
backward with a blow to the jaw. 
Drakma caught the girl and sent her reel- 
ing into the corner, v:hcre she lay stunned 






Read the conditions on the following page 



But he had to break half a dozen of these, by patiently working 
them back and forth, before his arm was entirely free. 

With that arm free, however, the rest was merely a matter of 
time. He lay back, when the last wire had been removed, let- 
ling the blood once more flow through his cramped limbs and 
resting his aching body. Then, slowly raising himself in the 
cock-pit, he studied the preoccupied back of the pilot in front 
of him and the surface of the water beneath him. They were 
living, he concluded, somewhere over the lower Chesapeake. 



But it was a flight which he had no in- 
tention of seeing prolonged. 
, His first impulse was to leap bodily on 
the back of the pilot. But he remem- 
bered, on second thought, that all such 
planes had a dual control. So he dropped 
quietly back in his scat and seized the 
control levers. And with his first tug on 
the "stick" the old habits and the old 
exhilaration came back to him. although 
it had been four long years since he had 
sat in a plane and sensed it dip to that 
He felt the counter-tug from the startled 
pilot, but the hitter's awakening came too late. The sea swam 
up to them. They were within two thousand feet of the surface 
before the leather-coated figure swung about and saw the source 
of his trouble. For one frantic moment they fought and 
tugged on their contending controls, one fighting for altitude 
and the other fighting to force a landing. That struggle did not 
end until the pilot, suddenly unbuckling his seat-strap, twisted 
about, with a revolver in his hand. And the same moment 



downward impulse. 



Rules for the Great Cash'Radio Contest 



DO you want $2,500? 
Do you want one of the 
finest radio receiving sets 
made? 

Thousands of photoplay and 
radio fans do. 

They have entered the great 
$5,000 radio contest by submitting 
titles for the >tory and sub-titles 
for the lir.-t installment of Arthur 
Stringer's absorbing mystery ro- 
mance, "The Story 'Without a 
Name." 

The second installment of this 
great adventure tale appears in 
this issue. 

Somebody will receive one of the 
splendid De Forest D-12 Radio- 
phone Receiving Sets for submit- 
ting the best sub-title for it. It 
might as well be you. 

Remember, this is the latest re- 
ceiving radio set manufactured and 
is complete in every detail, includ- 
ing batteries and loud speaker. Its 
inventors and designers have left 
nothing undone to make it the 
finest of the instruments on the 
market. 

Irvin Willat, noted director for Famous 
Players-Lasky, is busily engaged with a won- 
derful cast filming this story of love and adven- 
ture. Antonio Moreno, Agnes Ayres, Louis 
Wolheim, Dagmar Godowsky, Tyrone Power, 
Maurice Costello and Jack Bohn are only a few 
of the greatest film favorites taking part. 

Moreno and Miss Ayres are doing the best 
work of their careers and Jesse Lasky has 
ordered that no expense be spared to make it 
one of the greatest screen productions of the 
year. 

A wonderful story, a wonderful picture, a 
wonderful cast, a wonderful offer of $5,000 in 
cash and four wonderful radio receiving sets 
make this contest the most talked of, most 
enticing and most popular of any ever con- 
ducted. It is a remarkable opportunity for 
you. 

Read this installment of the story and then 
send in your title and sub-title. 

Send in your suggestions as early as possible. 
Send as many as you want, but send them one 
at a time. 



The Prizes 

Here are the prizes for Photoplay 
Magazine Radio Contest. 

First Priz,e .... $2,500.00 
Second Priz,e . . . 1,000.00 
Third Prize .... 500.00 

Five $100 prizes, five $50 prizes and 
ten $25 prizes — all cash. Four De 
Forest Reflex Radiophone Receiving 
Sets, complete with batteries and loud 
speaker 



Conditions of Contest 

PHOTOPLAY MAGAZINE wants a title for 
a story written by Arthur Stringer, which 
started last monthinpBo to play Magazine. It 
will be known as "The Story Without A 
Name" in Photoplay Magazine Radio Con- 
test. Suggestions are invited for a title and 
$5,000 in cash and four radio receiving sets will 
be given away under the following rules: 

1. Any person, except an employee of 
Photoplay Magazine or Famous Players- 
Lasky Corporation, or members of their 
families, may enter the contest. By submit- 
ting a suggestion a person becomes a contestant 
and as such agrees to abide by these rules. 

2. To the person submitting the best title 
for the story and best sub-titles for the install- 
ments of the story, together with his, or her, 
reason why such titles and sub-titles are best 
suited to the story and installments, and ex- 
pressed in 100 words or less, Photoplay 
Magazine will give $2,500 in cash. The 



CUT OUT THIS COUPON 

This coupon may be used to submit suggestions in Photoplay Magazine Radio Contest 
for which $5,000 in cash and four De Forest Reflex Radiophone Receiving Sets will be given 
away. Read the conditions carefully and then send all suggestions to Photoplay Magazine, 
Radio Contest Editor, 221 West 57th Street, New York City. 

Title for Story .• 

Sub-Title for August Installment _ 

Name of Contestant 

Street X umber 

City Stale 

Reason for selecting title and sub-title. __ 

38 



second prize will be $1,000; the 
third $500; $100 will be given to 
each of five persons submitting the 
next five best titles and sub-titles; 
$50 will be given to each of the 
(we. persons submitting the ninth, 
tenth, eleventh, twelfth and 
thirteenth best titles and sub- 
titles, and $25 will be given to each 
of the ten persons submitting the 
next best ten titles and sub-titles. 

3. To each of the persons sub- 
mitting the best sub-titles for the 
installments of the story, Photo- 
play Magazine will give a Le 
Forest Reflex Radiophone Receiv- 
ing Set complete with batteries 
and loud speaker. 

4. Cleverness of ideas, accuracy, 
conciseness, originality and neat- 
ness will be considered in the 
awards for the titles and sub- 
titles. No title will be considered 
that duplicates or conflicts with 
the title of any copyrighted story 
or photoplay. 

5. Contestants may submit as 
many suggestions as they desire. 

They are urged to send them as early as pos- 
sible to facilitate work of the judges. The name 
and address of the contestant must be on each 
suggestion submitted. 

6. For the convenience of contestants a 
coupon will be printed in each issue of the Mag- 
azine during the contest, and may be used to 
submit suggestions. Although use of this 
coupon is not compulsory, contestants must 
submit suggestions on paper that conforms to 
the coupon in size and shape. This is for 
convenience in handling and classifying the 
suggestions. 

7. The judges of the contest will be James 
R. Quirk, editor of Photoplay Magazine, 
and Jesse Lasky of Famous Players-Lasky 
Corporation. In selecting titles and sub- 
titles for cash awards, the judges will 1 e at 
liberty to disregard sub-titles for which radio 
sets have been awarded. Their judgment in 
all awards will be final. 

8. If more than one person submits the 
same titles and sub-titles for the story and 
installments which win cash prizes, and gives 
reasons for selecting them in an equally clever, 
accurate, concise, original and neat manner, a 
duplicate prize will be given to each such per- 
son. If more than one person submits the 
same sub-titles for which radio sets are 
awarded, in an equally clever, accurate, con- 
cise, original and neat manner, a duplicate 
radio set will be given in every Instance to 
each such person. 

9. All awards will be announced in Decem- 
ber Photoplay. 

10. Photoplay Magazine reserves the right 
to use the titles submitted as it sees fit. If a 
suggestion offered as a sub-title is better, in the 
opinion of the judges, than any title submitted 
for the story, the judges are at liberty to use 
it as a title for the story and award the person 
who submitted it the first cash prize. 

11. All suggestions submitted ?~e to be- 
come the exclusive property of Photoplay 
Magazine. 

12. The contest will close at midnight, 
October 15, 1924, and no suggestions received 
after that hour will be considered. 

13. All suggestions must be mailed to Radio 
Contest Editor, Photoplay Magazine, 221 
West 57th Street, New York City. 




Alan saw that weapon he leaped 
on his enemy. 

They fought there in mid-air, 
with the wind tearing at their 

panting bodies and the plane tilting with their movements. 
They fought hand to hand, until the revolver fell from the 
pilot's bruised fingers into the sea, until Alan had his panting 
opponent pinned down by the throat, until he was able to 
switch off his engine as the careening winged thing sloped down 
and struck the water and rebounded and struck again, canting 
and quivering as it heeled along the ruptured surface. Before 
Alan could turn back from his controls his forgotten enemy had 
caught up a wrench from the pit-floor. Alan dodged the 
descending blow, captured and twisted the murderous weapon 
from his enemy— and suddenly beheld that enemy snatch up a 
life-buoy and leap overboard. 

Alan caught sight of the bobbing head of the swimmer along 
the water at the same time that he caught sight of a cabin 



"Itcaritbt for long, Alan," said the girl, "and we'redoing 
it for a flag that these men daren't even fly" 



cruiser bearing down on him 
But he gave scant thought to 
either of them, for he had other 
things on his mind. He snatched 
up the head-set of the plane-radio in front of him. turned the 
tuning-dial, listened to first one voice and then another tra\ 
ing the evening air. and was suddenly startled to pick up a 
broadcast message announcing that the daughter of Admiral 
Walswortb had been mysteriously abducted. 

That ended any indecision that may have remained with him. 
He flung himself into the pilot's seat, snapped on the straps, 
and struggled with the mechanism of the unfamiliar plane. He 
was able, at last, to start the engine and hear the consoling 
whirr of the propeller-blades. Bui before he could rise from the 
water the cabined motor-boat to which he had paid so little 
attention swung about in a smother of spray and came head-on 
into his drifting gondola. There was a crash and grind of metal 
against wood, a stunning sense of shock, and the clutch of 



rough hands on his body before he could recover himself and 
fend off his assailants. He found himself jerked and dragged 
about the narrow deck of the boat and thrust into the low- 
roofed cabin, where two burly seamen held him against the 
wall while a third man bound him hand and foot with a coil of 
ship rope. Nor did it add to Alan's peace of mind to discern 
the water-soaked pilot from the wrecked sea-plane come and 
stand above him with a smile of triumph on his face. He could 
ask for nothing but violence, he knew, from the uncouth quar- 
tette confronting him. But he was touched with perplexity, as 
the launch backed away and took up her course across the 
dusky water, by both their silence and their passivity. They 
let him lie in his cushioned seat-corner, without so much as a 
spoken word to him. And as they searched the twilit water and 
sped on their way a sense of still darker things impending took 
possession of the helpless man in the cabin-corner. 

He did not, however, remain long in doubt as to the nature 
of those eventualities. For, after half an hour's speeding over 
an oily swell, he found the power suddenly shut off and the 
craft in which he rode nosing up beside a sea-going yacht that 
lay low in the water, as sleek and long 
and narrow as an otter. 

Alan could hear the exchange of 
muttered greetings as they drifted 
alongside, the thump of a thrown 
rope-end, the authoritative call of a 
deeper voice from the yacht deck. He 
was seized bodily, the next moment, 
and thrust unceremoniously up over 
the burnished deck-rail, where still 
other hands grasped him and half- 
hauled and half-carried him into a 
spacious enough cabin where he 
stood blinking under the brilliance of 
the clustered electric lights. 

The first thing that impressed him 
was the luxuriousness of his sur- 
roundings. And the second thing 
that came home to him, as one of the 
seamen cut away the ropes binding 
his legs, was the knowledge that he 
was being studied by a thick-shoul- 
dered man seated behind a highly 
polished hardwood table. Alan, as he 
heard the cabin door close behind 
him, turned and inspected this man, 

inspected him with a stare as intent as his own. He saw a 
swarthy and black-bearded face in which were set a pair of 
equally dark and slightly reptilious eyes. These eyes, during 
the silence that ensued, continued to study the newcomer, to 
study him with a slight but sustained air of mockery. 

" You don't remember me? " finally said the deep voiced man 
behind the table. His position behind the table, oddly enough, 
tended to give him a juridical air, like that of a magistrate on 
his bench. 

"Quite well," retorted his prisoner, a flash of defiance on his 
fatigue-hollowed face. 

"Go on! ".prompted the other, with his curtly ironic laugh. 

"You're Mark Drakma, the spy who slinks about Washing- 
ton posing as a wealthy planter," cried out Alan Holt, burning 
with the indignities to which he had that day been subjected, 
"the spy who's ready to traffic in the military secrets of my 
country or any other country." 

"Go on!" again prompted the man at the table. 

"And if I'm not greatly mistaken you're the head of one of 
the widest and rottenest aggregations of rum-runners along all 
our Atlantic coast." 

"I can't deny the soft impeachment," assented the man with 
the one-sided smile. "And I find it a very profitable occupa- 
tion, as you may judge by the comfort of this craft which you 
are honoring with your presence." 

"It will be a very brief visit," asserted Alan. 

"On the contrary, I'm afraid it may prove a very prolonged 
one. For we may as well get down to cases, Alan Holt, and find 
out how we stand here. You are not so thick-headed, I assume, 
as not to have an inkling of why I have arranged this little 
meeting." 

The suavity went out of his face as his narrowed gaze met 
and locked with the gaze of the other man. 

"I know why I was brought here, just as I know, now, you 
were the man who stole my first triangulator model," was 
Alan's deliberated retort. "But before we go into that, I want 
to know just what you have done with Mary Walsworth." 

ho 



Here is the second instalment 
of the thrilling radio contest 
story. There are but two more 
instalments. Thousands of fans 
have sent in titles in an effort 
to share in the $5,000 cash 
prizes and four De Forest D-12. 
Radiophone receiving sets. 
Order the next two issues now 
so that you will be sure to 
get your copies and complete 
the story. Have you sent 
in your titles? Do it now. 



The smile returned to the dark and thoughtful face. 
"We'll come to that at the fit and proper time," was Drak- 
ma's answer. "I see you have no desire to beat about the bush, 
so we may as well get down to facts. You have made a radio- 
wave converger which you proposed to present to your country. 
But a republic, I must remind you, is a notoriously ungrateful 
form of government. And as things now stand it will be profit- 
able for you to present that instrument to Mark Drakma!" 
Alan's laugh was both bitter and defiant. 
"You'll never get it," he cried, with his hands clenched. 
"I already have it," countered the other, with carefully 
maintained patience. "But there is apparently one final part 
which it will be necessary for you to fit into the apparatus." 
"That, too, you'll never get," asserted the grim-jawed youth. 
Drakma's face darkened at that, but he still held himself in. 
"Let's not be foolish about this," he said with an achieved 
quietness of voice. "I want that apparatus and I'm going to 
have it. I've risked too much to trifle over' this thing much 
longer. I've got you here in my power, and here you stay until 
you listen to reason. You can be sure of that." 

It was Alan Holt's face that dark- 
ened, this time, as he advanced on 
his enemy. 

"Do you suppose you can pull stuff 
like that today and get away with 
it?" he demanded. "I have friends, 
and those friends will make it their 
business to find out where I am. 
What's more, I have all the forces of 
the American government behind 
me, and when those wheels get in mo- 
tion, Drakma, they will grind a little 
of the thievery out of you." 

"Don't count too much on those 
government forces," was the other's 
quick retort. "You're already pret- 
ty well discredited with that govern- 
ment. And now that they are being 
presented with definite evidence you 
are trading with an enemy power, 
you'll find" — 

" So that's a part of your dirty pro- 
gramme!" cried the man with the 
pinioned arms, leaning forward across 
the polished table-top. And as he 
did so the swarthier man rose from 
his chair, the last of his suaveness deserting him. 

"That's only the overture to what you're going to get before 
I'm through with you," he barked out with his first look of 
open hate. "I've got you where I want you and I'll get what 
I want out of you! 

"I'll squeeze it out of your sullen head," cried Drakma, with 
mounting rage. "I'll get it out of you if I have to burn it out 
with a hot iron or pound it out with a club." 

"You can't!" countered the white-faced man confronting 
him. 

"Can't I?" thundered the other, with a sudden eruption of 
anger. "Can't I?" he repeated as his great fist struck the 
defiant white face. Then he seized his pinioned prisoner and 
thrust him back until he held him by the throat, skewered 
against the cabin-wall. There the huge fist again drew back 
and descended on the helpless face, leaving a small trickle of 
blood along the clenched jaw. Then in an increasing ecstasy of 
rage he flailed the trussed body from side to side, clutching it 
by the throat again and pinning it flat against the wall. He 
stood there panting, staring into the discolored face so close to 
his own, studying the blood-stained skull housing the secret 
which he suddenly realized could not be forced out of it by 
violence. 

"God, but I'd like to kill you!" he gasped as his fingers re- 
laxed from the bruised throat. "I'd like to throttle the life 
out of you! But that would make it too easy for you. And 
before I get through you'll probably wish I had. So we'll see 
if there isn't a better way of getting your precious secret out 
of your hide." 

He pulled himself together and strode back to his table, 
where his shaking finger touched a bell-button. His eyes 
glowed ominously as he watched his captive, still tight-lipped 
and obdurate, in spite of the brutal treatment, with his back 
against the wall. 

"Bring in that woman," was Drakma's curt command to 
the seaman who answered the bell call. "We'll see who's 
master of this situation, I may [ continued ox page 106 ] 



The Prize Story in the Makin 




"Smash it rather than let it fall 
into the hands of enemies!" 
Alan Hull, played I"/ Antonio 
Man no, is idling Mary Wals- 
worth (Agnes Ayres) in one of 
ring scenes of " The Story 
Without a Name" which is 
hi ing filmed at Famous Players- 
l.osl, // studio on Long Island 




"1 wish you'd make some sort of love 
amplifier so those who care for you would 
be heard by you," Mary U Us A Inn in one 
of the ben id if uj lore scenes of the grail 
radio romance 



Style, Comfort, and Durability in 




Not machine gun action, but cameramen taking a picture of Mae Busch's dancing 
feet for the forthcoming -production, ''Bread" 




Gertrude Olmsted's evening slippers — 

simple sandal lines, cut low at arch, high 

French heels, simplicity and comfort 



w 



HEN King Solomon remarked in an outburst of 
enthusiasm, "How beautiful are thy feet, O 
queen!" the lad} - in question must have been 
wearing an unusually attractive pair of sandals that 
evening. It takes pretty feet, of course, to give dis- 
tinction to pretty shoes, but the right shoe can add 
charm to a foot which, if improperly shod, might pass 
unnoticed. 

The photographer has caught some of the twinkling 
feet of the stars at rest, and Photoplay presents these 
pictures to guide and govern your choice in making your 
selection of footwear. They show individuality, style 
and beauty — and, above all, taste and careful thought. 
An otherwise perfect toilet may be marred by an in- 
harmonious slipper. And while style is essential, there 
must be comfort, too. Note how carefully these factors 
have here been kept in mind. 



Formal evening slippers of brocaded silver cloth adorn the feet 
of Cecille Evans' "one hundred thousand dollar legs'' 




This evening slipper of rose and brocade was made especi- 
ally for Mae Murray. Not only is it stylish but Miss 
Murray finds it comfortable, too 

42 




And here are Constance Talmadge's grey suede walking 

-pumps, with dark brown leather straps. Elastic inset holds 

the shoe tight across the instep 






Favorite Footwear of the Stars 






Julia Faye's cinnamon brown kids are 

finished with the fashionable cut steel 

buckle and champagne heels 



For Estelle Taylor: Black patent 

leather pumps, round French toes, 

medium French heel 



White kid, with conventional flower 

outwork and low French heel — Viola 

Dana's street shoes 




Colleen Moore's favorite "comfort" shoe — brown suede 
sandal with medium heels 



French walking slippers for Lois Wilson; beige hid, 
trimmed with straps of coffee kid 





Smart black patent leather pumps made especially for Corinne 

Griffith's dainty feet. Simple but perfect lines and cut steel 

buckles suggest distinction 



Pearl grey suede walking shoes with French heels and art per- 
forations — this is the first choice of the petite and diminutive 
Vera Reynolds 




Odds 6? Ends 

the Camera Caught 



It's a busy life and a varied one 
for the man who turns the crank. 
If his brain registers all the im' 
pressions the lens does it must be 
a veritable museum of the un' 
usual and the bizarre, with some 
nooks of beauty and sentiment, 
also. These photographs show 
some of the cameraman's recent 
observations in Hollywood's 
Curiosity Shop. 



Russell Ball 



A very interesting family ■picture! But they separated before 
we could publish it. Barbara LaMarr, still provocative, despite 
the house dress and baby, and her last husband, Jack Dougherty 



Hoot Gibson's smile is shown with "two good reasons why!" 
In the background is his pretty home in Beverly Hills, and 
the gleaming machine is his specially built eight-cylinder 
roadster — both bought with Western "shoot 'em up" pictures 




Here we have Jacqueline Logan completely baffled. 
She has "May" the baby camel born on the Lasky 
ranch — aged just three days — on her hands and not a 
darn thing in Dr. Holt's book on the feeding of children 
to tell her what to do. However Jackie has fallen back 
on the well known milk bottle and "May" seems to be 
"doing nicely" 



u 






Now, if this were a guessing contest, we 
believe that there would be few who conlil 
correctly name the two elderly person- 
ages shown above. They are none other 
than Madge Bellamy and Wallace Mac- 
Donald — no fooling! They arc made up 
to play the last part of "Love and Glory" 
— but, dry those tears! — they start young! 



Jackie Coogan and the Boy Scouts of Los 
Angeles had quite a job overseeing the loading 

of the million dollar cargo of milk that 
facial's "Mercy Ship" will bring to the 
children of the near East, late this summer. 
Hut Mayor George K. Cryer helped them out 
and they got it all ready for shipment 



Usually the camera is lashed on the hood of 
the machine for such work, but here we hare 
the entire car and the camera on a huge 
truck. Pat O 'Motley is giving the cast of 
" If read" a joy ride. Victor Schertzinger, 
iiuih >/• of many song hits, is directing 




,o 



CLOSE-UPS 6? LONG SHOTS 



POLA NEGRI, by special request, 
has selected the artists of the 
screen who in her opinion merit 
the exclamatory adjective Great! 
Her citations, which here follow, are 
impressive for three particular reasons: 

First, there is no greater critic of the art of acting than Pola. 
Second, she is one person in the industry who dares to say 
what she thinks without prejudice, pettiness or regard for policy 
and tradition. 

Third, her ukase offers a continental estimate of our American 
art stock. 

P OLA'S Legion of Honor comprises the following: 
Lillian Gish, Norma Talmadge, Mary Philbin, Ramon 
Novarro, John Barrymore, Rodolph Valentino, Charlie Chap- 
lin. Ernst Lubitsch, Rex Ingram, D. W. Griffith, Dimitri 
Buchowetski and Cecil B. De Mille. 

THE vivid Negri makes several sharp observations. 
She says that a critic is one who can detect an artist on 
sight . An artist may develop to greatness or he may deteriorate 
for want of ambition or opportunity, says Pola, but if he has the 
given gift he can be instantly recognized as an artist by the 
eye. 

She could not be prevailed upon to name more than six 
artists among players: Lillian Gish, Norma Talmadge, Mary 
Philbin, Ramon Novarro, John Barrymore and Rodolph 
Valentino. So far as she is concerned there are no more. And 
that's that. 

CHAPLIN she classifies strictly as a director, the greatest 
director. His ability as an actor she contends is but a minor 
note in his creative soul. 

Lubitsch she describes as a genius by instinct, Rex Ingram a 
genius of cultivation. "Rex," says Pola, "is a glass of cham- 
pagne." 

D. W. Griffith is the great picture story-teller with a fixed, 
patent formula. 

Buchowetski has a quality similar to Ingram. He has a 
cultivated and intuitive mind. 

De Mille achieved the heights with "The Whispering 
Chorus" and recaptured them with the first part of "The Ten 
Commandments." 

Lillian Gish has the sincerity and the emotional depth, 
necessitous to the great artist, combined with the most brilliant 
technique of any American actress. "No. versatile — but sub- 
lime in her genre." 

"T REALIZED Norma Talmadge was an artist when first I 

J- saw her," observes Pola, "but I could not understand the 
reason for her tremendous reputation until I saw 'Secrets.' 
Miss Talmadge is a character actress of rare dramatic power. 
She has a personality that invests any part with charm, but she 
is so fine as an artist that she should play only character roles." 

" Mary Philbin is an artist. Not a great actress yet, but when 
she has gone through experiences she will be one of the very 
greatest. 

"Ramon Novarro showed himself a marvelous artist in 
'Scaramouche.' He has inspired moments in any picture. 
Spontaneous, instinctive, impulsive, he has not yet had time or 
experience enough to gain technical mastery of his power. He 
is the great romantic comedian, with a continental sense of 
humor like Lubitsch. 

"John Barrymore is the great technician. He is adroit, 
subtle, plastic, achieving brilliant nuances by expression and 
gesture, but he is never impulsive or spontaneous. 

"Rodolph Valentino hasn't so much technique as he has feel- 
ing. He is a personality first, an artist second. He has sex 
appeal, personal magnetism, emotional warmth. His merit as 
an artist rests in his ability to project emotion sincerely and 
with subtlety." 

RECENTLY I was asked to list the twelve greatest in- 
dividuals I had encountered during my interviewing years 
in Hollywood. My list, unlike that of Pola's, was selected from 

46 



By Herbert Howe 



the standpoint of personality first, 

artistic worth second. My Legion of 

Great Individuals is: 

Pola Negri, Mabel Normand, Lillian 

Gish, Alia Nazimova, Mary Pickford, 
Rex Ingram, Ernst Lubitsch, Rodolph Valentino, Eric Von 
Stroheim, Ramon Novarro, Charlie Chaplin, and Jackie 
Coogan. 

THE Wampas is the holy order of Hollywood, composed of 
press agents who nobly dedicate their lives to celebrating 
the wonders of others. Each year they select the baby stars of 
the screen. These worthy and saintly men recognize only one 
gender, the feminine. So far as they are concerned male baby 
stars are of no consequence and should be slaughtered. I'm 
inclined to side with them, but, inasmuch as Heaven "forces 
them upon us, why not consider them as equals of women? 
Let's do away with the double standard. Accordingly, I pro- 
pose recognition of the following baby stars: Wallace Beery, 
Jack Demj sey, Theodore Roberts, Ernest Torrence and Bull 
Montana. 

They may not be as cute, but they are just as young and 
pretty as some of the Wampas babies. 

ELINOR GLYN says that it is not so much her art that holds 
the public as her great personal magnetism. Elinor sleeps 
with her feet to the north and her head to the south, or vice 
versa, so as to be in harmony with the magnetic currents. She 
says that if a compass is placed in her sleeping chamber it will 
for a time point to the north but that eventually it will swing 
around and point toward her. I am willing to admit that 
Elinor may be more attractive than the North Pole, but I'm 
wondering just what the compass would do in, let us say, 
Corinne Griffith's chamber. Poor, mad little compass! 

THE other day I asked the publicity aide-de-camp to Chaplin, 
how Charlie was getting along with his new comedy. " He's 
finished it," said the P. A. D. C. "Now he's writing it." 

AT a social affair in the East, Elinor Glyn so embarrassed a 
youn£" man by asking him if he were passionate that he had 
to leave the table to cool his blushes. She tried the line at a 
Hollywood party, directing the question, "Are you of a pas- 
sionate nature?" at a hard-boiled director. He looked her 
straight in the eye and said, "Not now." 

THE actors' favorite golf club in Hollywood has been closed 
on account of the hoof and mouth disease. No reflection 
upon Rex, the king of wild horses. He isn't even a member. 

MOTORING out to the Goldwyn studio recently I was 
shocked to behold a banner across the street, in front of 
the studio, announcing "Fools' Highway." The Goldwyn 
people explained that it was an advertisement of a Universal 
picture. But I suspect Universal of a deep, ironic intent. 

WHILE the Metro officials were tearing their hair over Rex 
Ingram's decision to quit the screen, Rex was busily 
engaged in learning to play the ukulele. 

Alice Terry, his wife, called him by long distance from 
Hollywood to ask him what he intended to do. There were 
rumors that he might do "Ben Hur." 

"For the love of Mike!" shouted Rex. "Listen, Alice dear. 
I want you to hear me play chords on the ukulele. I wish you 
could see it; it's a beautiful instrument." 

The next evening Alice called him again on matters of busi- 
ness. 

"Listen, Alice," shouted Rex. "I can play 'When the Lights 
Are Low.' " 

Alice protested. "It's so silly and extravagant, Rex, to be 
playing a ukulele over long distance." 

"Don't you want to hear me play?" wailed Rex in an 
aggrieved tone, whereupon he dropped the receiver and com- 
menced thrumming laboriously. Central cut in every little 
while to ask Miss Terry if she had her party. Alice, becoming 
indignant, demanded to know if [ continued on page 103] 




What Tom's 
Pal 

Thinks of Him 




M 



George Ade was once heard to say, "If I was in a tight place I'd rather have 
Tommie Mcighan by my side than any man alive," and John McCormack 
chipped in and said, " He's my favorite audience. God bless him." There 
is no man in pictures who has so many men friends. Statesmen, bankers, 
novelists, world-famous artists, waiters — all swear by him — and his loyalty 
to them is so deep and unswerving that it is a tribute to hitman nature 

Above — Booth Tarkington, one of his most intimate friends, and Tom. 

Taken just before a golf battle. At right — .4 sketch of Tom in ''The 

Alaskan" his next and, from reports, oneofhis best, pictures, drawn from 

life by James Montgomery Flagg—THE Editor' 



By Booth Tarkington 



NOT long ago I walked across the exercise ground in Sing Sing prison 
with the warden and Thomas Meighan. There were shouts from the 
men who couldn't pass outside the walls, as we three fortunately 
could. "Hello, Tom!" they called, voluminously; and the voices 
were hearty and cordial, for they were greeting a man who had proved him- 
self their friend. Meighan smiled and colored a little, pleased but shy. A 
little later, that afternoon, he was entreated "just to show himself" to a 
party of other visitors, and, blushing painfully and stammering, he declined 
the honor. The entreaty was urgently emphasized. The visitors knew he 
was present in the flesh and would be sorely disappointed if they didn't "even 
get a look at him." He literally ran away. 

Of course that's one reason why we all like him so much. He is in the 
midst of one of the most conspicuously successful careers in the world today 
and his attitude, in reference to his success, is so little vainglorious 
that it might be called apologetic. And yet no one takes his work 
more seriously than he does; no one could work harder, more 
earnestly, or with a sharper anxiety to make his work worthy oi 
the "best public favor." 

Various manifestations have shown that he has indeed won, and 
holds securely, that "best public favor." He is more than a 
"vastly popular movie actor" and this is because his enormous 
public sees the man that he is as well as it sees the actor that he is. 




JMl» IKCHrtTLOWfiN 



THE NATIONAL GUIDE TO MOTION PICTURES 




THE SIGNAL TOWER— Universal 

THIS tale, by Wadsworth Camp, of an isolated signal 
tower in a desolate section of a mountain railroad, might 
easily be trite melodrama. In the hands of Director Clar- 
ence Brown it becomes a compelling story. Brown has 
given vitality to his characters through carefully built inci- 
dent. They live and consequently their movements become 
real and holding. The director has touched upon the home 
life of a young towerman and his wife with keen insight. 
Then there is a derelict telegrapher, who comes to board 
with them. This man is no out and out scoundrel. He is 
just a happy-go-lucky oaf. Wallace Beery gives a striking 
characterization of this hulking wanderer, Rockcliffe Fellowes 
is excellent as the towerman-husband and Virginia Valli 
gives a compelling performance of his young wife. 




THOSE WHO DANCE— First National 

HERE is a compelling topical melodrama, moving 
through a maze of bootleggers, hijackers, police pur- 
suit, gats and jazz. George Kibbe Turner's story has been 
developed into a thriller that holds, being well directed and 
admirably played, with almost the best cast of the year. 
It is the story of a young girl who sets out to save her young 
brother from the electric chair. He has been "framed" by 
bootleggers and the girl masquerades as a woman of the 
underworld to get the real evidence. Director Lambert 
Hillyer has developed his melodrama with consistency and a 
regard for the probabilities. Blanche Sweet is emotionally 
excellent as the girl who poses as a denizen of the half world. 
Even better is Bessie Love in a superb characterization of 
the bootlegging gang leader's flapper wife. 



The 



OW 



Shad 
Stage 

(RKG. U. S. PAT. OFF. i #^ ^ 

A Review of the J\[ew Pictures 




THE SEA HAWK— First National 

THIS romantic yarn by Rafael Sabatini — of the corsairs 
who swept the seven seas in the good old Elizabethan 
days — has reached the screen with considerable more vital- 
ity than most costume efforts of the silversheet. Indeed, 
"The Sea Hawk" achieves some genuinely fine moments. 

The story itself is of conventional fibre. Sir Oliver Tres- 
silian is kidnapped from his home and sweetheart through 
the machinations of his weak younger brother. He is sold as 
a galley slave, comes through many adventures, returns to 
kidnap his loved one just as she is being forced into a love- 
less marriage and becomes the terror of the Barbary Coast 
as the "hawk of the seas." Of course, he returns to England 
finally and to vindication and happiness. " The Sea Hawk " 
achieves its novelty through its maritime element. The 
hand-to-hand combats between the fighting ships of the day 
are done with spirit and skill by Director Frank Lloyd. 
These moments, in fact, seem to be the best he has given the 
screen since he made "The Tale of Two Cities." 

These galley moments are remarkable. The huge battle 
craft with their masses of almost naked humanity chained to 
the oars, sweltering under the hot Mediterranean sun, are 
graphic in their realism. Here Milton Sills is at his best as 
Sir Oliver, a helpless prisoner chained to his task. 

"The Sea Hawk" has varying qualities. It is too long. 
The sea battles tend to lose through repetition. But the 
picture has strength and holds the interest. Mr. Sills has the 
fattest role of the screen year as the Hawk and he probably 
does as well as any one in the films could with the part. 
It never falls below being adequate, anyway. There are 
times when Wallace Beery comes very close to stealing the 
picture in the serio-comic role of a freebooting scoundrel. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 

THE SEA HAWK THE SIGNAL TOWER 

WANDERER OF THE WASTELAND 

THOSE WHO DANCE THE BEDROOM WINDOW 

BROADWAY AFTER DARK 

The Six Best Performances of the Month 

Noah Beery in "Wanderer of the Wasteland" 

Bessie Love in "Those Who Dance" 

Milton Sills in "The Sea Hawk" 

Adolphe Menjou in "Broadway After Dark" 

Wallace Beery in "The Signal Tower" 

Willard Lewis in "Broadway After Dark" 

Casts of all pictures reviewed will be found on page 121 




WANDERER OF THE WASTELAND- Paramount 

THIS visualization of Zane Grey's romance, filmed in nat- 
ural colors in and about Death Valley, is of unusual sig- 
nificance. Not that the making of photoplays in colors has 
arrived — yet. But "Wanderer of the Wasteland" is the 
most interesting step away from the black-and-white. 

This film, done by the Technicolor process, catches the 
remarkable natural colorings of the arid American desert in 
a way that is, at times, breath taking in its beauty. There 
are scores of dazzling camera shots, notably one of the char- 
acters with a background of drifting sands and blue skies. 
Color photography — if it is perfected — is likely to bring 
about a complete readjustment of values, in photography, 
in make-up, and so on. 

This story of Zane Grey is more or less indifferent. Adam 
Larcy, a young pioneer prospector, becomes involved in a 
fight with his ne'er-do-well brother and accidentally kills 
him, or so it seems at the moment. Larcy flees into the 
desert, has many m .-row escapes and finally comes to live 
with an old miner. Still believing himself a hunted man, 
he pushes on to California. There Larcy finds the girl he 
has loved and decides to go back to face the authorities. 
But a return discloses the fact that the old settlement has 
passed away. Then, too, his brother is still alive. So Larcy 
pushes on again to California — and the girl. 

"Wanderer of the Wasteland" is directed in a workman- 
like way by Irvin Willat, who deserves great credit. It is 
well played, particularly by Noah Beery, who makes the 
figure of the happy-go-lucky old prospector a graphic one. 
Here is a pioneer to take his place beside Ernest Torrence's 
famous old guide of the plains. It is a fine performance in 
every way. Jack Holt is excellent, too. 




BROADWAY AFTER DARK— Warner 

ANOTHER humanized melodrama reflecting the effect 
of "A Woman of Paris." Indeed, this old timer by 
Owen Davis was filmed by Monta Bell, who was Chaplin's 
directorial assistant. Just the story of a bored and jaded 
boulevardier of Broadway who seeks a new thrill by intro- 
ducing a theatrical boarding house slavey to his strata of gay 
society. Bell has carefully detailed his characters. They 
are all varyingly good and bad by turns, each with his or her 
foibles. Between Bell and Adolphe Menjou, who plays him, 
the bachelor boulevardier becomes an absorbing character. 
Menjou invests him with his usual poise and finesse. Norma 
Shearer does her best work thus far as the slavey who dons 
fine feathers, and Willard Lewis again makes a subordinate 
figure, of a down-and-out actor, stand out. 




THE BEDROOM WINDOW— Paramount 

A WEALTHY old man is found dead in his apartment. 
Close to an open window is the revolver used by the 
murderer. The servants swear no one has left the room. 
There seems to have been no way to gain entrance by the 
window. That is the mystery upon which the story is based . 
"The Bedroom Window," by the way, is strongly reminis- 
cent of " Grumpy," also done in celluloid by William de 
Mille. In place of the testy old criminal lawyer who ferrets 
out the crime is a quaint old maid author of detective stories 
who solves the mystery. Mr. de Mille has told his story in 
an interesting way, adroitly shifting suspicion from one 
character to another for three-quarters of the way. Ethel 
Wales steals the picture as the maiden writer of mystery 
yarns. A pretty adequate cast. 

49 





THE TURMOIL— Universal 

THIS Booth Tarkington story of family relationship in a 
small middle Western town had interesting possibilities. 
The family is dominated by a self made captain of industry 
and comes to disintegration through the corrosion typical of 
an ill-adjusted household. Director Hobart Henley succeeds 
passably. He has one big scene, where the head of the house 
enters the barber shop oblivious to the tragic death of his son. 



WHY MEN LEAVE HOME— First National 

AN Avery Hopwood farce done seriously. A man, who 
has just re-married, finds himself quarantined in a house 
with his ex-wife, whom he still loves. He finds his way out of 
his emotional predicament considerably wiser. Lewis Stone 
is again the recreant husband and again gives a fine per- 
formance. Helene Chadwick is likable as the ex-wife and 
Alma Bennett is the garish siren-stenog. Title is a bait. 




tj 



. 








THE WHITE MOTH— First National 

THIS story, written by Izola Forrester and directed by 
Maurice Tourneur, is both garish and tawdry. Another 
hero tries to save his younger brother from a footlight vamp, 
only to lose his own heart to the gal, who, after all, is true 
and fine. Dull with frequent directorial lapses of good taste 
and some bad acting by Barbara La Marr as the White Moth 
of the Paris music halls. 



HOLD YOUR BREATH— Hodkinson 

DOROTHY DEVORE impersonates the human fly a la 
Harold Lloyd. You remember the human fly — he used 
to scale walls, climb up sides of hotels, apartment houses and 
skyscrapers. With Walter Hiers as a corpulent foil, Dorothy 
certainly does keep us guessing, and laughing. It is an 
amusing film — this sort usually is. Al Christie and Scott 
Sidney have contrived funny situations. 








i 91 

EkjT n ^ 



MIAMI— Hodkinson 

ANOTHER flapper who jeopardizes her future with jazz, 
licker on the hip and playful philandering with the 
villain. Betty Compson is the gal who dares in a one-piece 
bathing suit — but finally comes through unscathed, al- 
though it takes a squad of revenue officers to get the scoun- 
drel and his gang of bootleggers. The story doesn't stand 
analysis and Miss Compson's work isn't particularly good. 

50 



THE FIRE PATROL— Chadwick 

CALCULATED to stampede the smaller theaters where 
hokum is accepted on face value. Not the romance of a 
fireman, as you might expect, but the story of a coast guard. 
An old time melodrama with an effort at every sort of film 
thrill crowded in — and then some. A cast of well known 
players with Madge Bellamy as the persecuted heroine and 
Helen Jerome Eddy giving the outstanding performance. 








THE GAIETY GIRL— Universal 

ONE of these English pictures with the old castle and 
proud people strangely mixed with the hoi polloi. Mary 
Philbin is charming, as always, but has little chance to dis- 
play any real acting ability. The action is slow and the plot 
poorly constructed. Story revolves about the efforts to keep 
the old castle in the family. The noble .hero, the villain 
who weds the heroine, the unkissed bride — all are here. 



THE PRINTER'S DEVIL— Warner Brothers 

WESLEY BARRY, "the little boy with freckles," is 
growing up, but he is still irresistible. Wesley here 
proves himself somewhat of a hero after a number of mis- 
understandings and accusations. The lives of small boys, 
like the course of true love, never runs smoothly on or off 
the screen. Harry Myers supplies comedy, and with the 
likable Wesley, this is worth an evening at your local theater. 





THE RECKLESS AGE— Universal 

SLAPSTICK in Harry Pollard's best manner. Built on 
impossible situations but amusing in spite of it all. 
Reginald Denny is very much in evidence as an insurance 
man who falls in love with his firm's client, thereby threaten- 
ing a breach of honor. It is all a lot of fun though incon- 
sequential, and granted you are not a highbrow you won't 
be bored. Ruth Dwyer is the little gal. 



DAUGHTERS OF PLEASURE— Principal 

HARDLY for the family audience. Father, if you please, 
takes to giving pearl necklaces to his daughter's school 
chum. Give these middle aged philanderers an inch — and 
you know what happens. Daughter hands him a fine going 
over, and it is embarrassing for every one. The cast is ex- 
cellent: Marie Prevost the daughter, Monte Blue her best 
beau, Clara Bow the chum, and Wilfred Lucas the gay papa. 




* 
^4i 


^ vpv 






. 


_? -- SHI 



FIGHTING AMERICAN— Universal 

CARL LAEMMLE begs you not to take this seriously. 
You won't! It is a comedy born of sheer nonsense and if 
you happened to be temperamentally inclined for lively en- 
tertainment here it is. This is a prize-winning story about a 
youth whose college record arouses parental ire and who 
lands himself in China. Pat O'Malley is the hero, Mary 
Astor, the girl, and Warner Oland a magnificent Chinaman. 



WOMAN ON THE JURY— First National 

HERE is Lew Cody as a gay philanderer yclept Peter 
Pan. One of his victims kills him. On the jury is 
another victim who has kept silent. And, on the jury, too, 
is this girl's sweetheart. The prisoner is about to be con- 
victed when the other girl tells her story to her fellow jury- 
men, even though it may kill her happiness. Verdict: not 
guilty! Hardly for the whole family. [ continued on page 88 1 

61 





Though the doesn't know who Hedda Gabler is, and would 

like to get a glimpse of Pola Negri, Jobyna Ralston has 

certainly arrived in pictures 



"Not. good for little girls," says the physical in- 
structor of the above exercise. But Jobyna isn't 
deterred by that, 

The Discovery of 

Jobyna Ralston 

Out of the Tennessee hills, 
the direct lineal descendant 
of an Easter rabbit, says — 

Herbert Howe 



HAROLD LLOYD may be girl shy but he's some picker. 
That's the general sentiment of male observers of 
Miss Jobyna Ralston, the latest pupil to blossom 
under Prof. Lloyd's spectacled tutelage. 

A man with an eye like the Professor's doesn't need any glass 
in his horn rims. 

His charm school is more exclusive than Prof. Sennett's. 
hence it has not graduated as many damsels, but everyone has 
been a winner. 

There was Bebe Daniels. She was so good De Mille featured 
her. 

Then Mildred Davis. She was so good the Professor married 
her. 

Now Jobyna. 

Jobyna is from South Pittsburg, Tennessee, suh! Town of 
eight hundred inhabitants, suh! 

Jobyna is just eighteen. I suspect she's fibbing about her 
age. She must be all of twelve. 

She's a demi-tasse, a bon bon, a direct lineal descendant of an 
Easter rabbit, a twitchy, sensitive midget who plays hand ball 
with her hair flying, rides to location on a motorcycle with the 
cop, belongs to "Our Club" and gets pop-eyed thrills out of 
matinees. 

"Oh, I was goin' to dress for you. Oh, oh!" she gasped, look- 
ing at the press agent in a timorous panic. "I was just goin' to. 
Maybe I better had now. I could. Of course, I hate dressin' up 
like a church, but I could ... I was goin' to." 

She was in a middy outfit, duck trousers, white sweater, a 
ribbon around her head and a hand-ball mitt on one hand. 

She fluttered around her dressing room and finally alighted 
on a straight mahogany chair, her hands thrust determinedly 



between her knees, as if to picket herself down. "Goodness, I 
should have dressed!" 

We assured her that the outfit suited the Tennesseean accent 
and personality. Her eyelashes fluttered hopefully. She 
smiled. She hitched her feet under her and clutched the toes of 
her tennis shoes. 

I complimented her upon her work in "Girl Shy." 

"Glad you liked it," she breathed. "I cried all through the 
picture. I was scared. They wanted me to act. Always, 
before, I had just run around and been myself. But they 
wanted me to act. I thought they were making an awful mis- 
take. Now the papers say I'm better when I'm serious. 
Funny. I'm not naturally serious." 

She unfurled herself and let her feet dangle from the chair, 
her hands under her. Suddenly she shot me a startled glance. 

"Who is Hedda Ga—a-bler— Hedda Gabler?" she asked. 
" Some reviewer said I was like her. Who is she? " 

I explained that she was a character in an Ibsen play, a 
neurasthenic lady who drove her lover to suicide and then shot 
herself. 

" O—O— Oh ! " gulped Jobyna. " I'm not like that ! " Then 
pathetically, "Oh, I reckon they were making fun of me! 
Wern't they?" 

"How in the world did you ever happen to leave South Pitts- 
burg? " I asked suddenly of the incredible bunny-like person. 

"Oh, I dunno," replied the bunny-person, "I always wanted 
to 'mount to somethin'. Mother was a good sport. She was 
willin', so we went to New York and I went on the stage. I 
couldn't do anything," she flashed apologetically, " 'cept dance 
a little, but not good. I went to Ned Wayburn's school and he 
put me in 'Two Little Girls in Blue.' ' [ cont'd on page 120] 







. 



A PPEARANCES are often deceiving, but if Doug isn't saying something sweet right in Mary's 
■* *■ ear, what in the world is she smiling for? Looks as if the perennial honeymooners are still 
honeymooning. And just think! They've been married more than five years. Who said matrimony 
is the end of romance! The photograph was posed especially for Photoplay. 



53 




When a queen marries. Gloria Swanson wears this SI 00, 000 
wedding outfit — gold, jewels, coronet — in "Her Love Story" 



Studio News 

ByCalYork 

Written from the inside of 

the Hollywood and T^ew Tor\ Studios. 

If you read it here it's so 



Lasky studio in Astoria, L. I. He was game, though, and 
waited through a long day until the set was ready for the 
camera. 

"It seems that I'll never get over it," confided the dashing 
hero of the screen. "It never lasts longer than the first 
'take,' but that is long enough. In every picture I have 
ever made I always suffer on the first day. Then I forget it. 
Look at my hands." 

He held them out for inspection, and they were almost 
purple. They trembled from cold. And it was a rare, warm 
spring day. But he didn't d'splay any prima donna tem- 
perament. He, as his friends know, is too much of a real 
he-man for that. He had arrived at the studio ready for 
work at nine A. M., but it was not until five in the afternoon 
that the first "shot" was taken. Moreno sat around watch- 
ing radio experts, electricians, carpenters and mechanics 
altering and perfecting the tower scene under Director Irvin 
Willat. Despite the long, irksome wait he was patient even 
if stage fright did grip him. 

"If somebody could only invent a way to dodge the first 
day and start making the picture on the second he would 
confer a great boon on me," said Moreno. 

TRVIN AVILLAT, director of "The Story Without A 
-1-Name" which is in the making by Famous Players-Lasky 
for early fall release, got a pleasant surprise on the very first 



THE first day that Agnes Ayres ap- 
peared at the Famous Players-Lasky 
studio on Long Island to play her part 
in "The Story Without a Name," 
which is running serially in Photoplay, she 
created a sensation. It was her first appear- 
ance in New York after a long sojourn in 
California and never had any seen her look 
so radiantly beautiful. The little leading 
woman of the great radio romance at once 
became the center of interest. Word passed 
from set to set, in the mysterious way that 
words do pass around in a huge studio, that 
"Agnes looks simply stunning." Everybody 
had to "have a look," and "everybody" in- 
cluded all in the studio from messenger boys 
to stars of the first magnitude. Those who 
know her rushed up to welcome her and 
express their admiration. Others simply 
revealed their good wishes by admiring 
glances cast in her direction. It was a 
triumph for the dainty beauty and a tribute 
that could be expected from movie people' to 
one of their own. All of which goes to prove 
that they are a pretty human, kindly lot of 
individuals after all. 

HERE is a secret that will surprise the 
"hard-boiled." Antonio Moreno suffers 
from stage fright. The leading man of "The 
Story Without a Name," the $5,000 Photo- 
play radio romance, was the unhappiest man 
on the entire Atlantic Coast the first day of 
filming the picture at the Famous Players- 

5-i 




All the privacy of a goldfish! Enid Bennett penning a few words to husband 

Fred Niblo between the scenes of " The Sea Hawk." Milton Sills and Wallace 

Beery have a few suggestions to offer 



and Gossip East and West 



day of making the picture. Antonio Moreno, who plays the 
hero, furnished the surprise. Willat was directing a small 
army of radio experts, electricians and carpenters in complet- 
ing the set in the tower scene where the hero perfects his 
great radio device for Uncle Sam. 

Moreno was all eyes and ears. Every time a wire was 
changed Moreno wanted to know all about it. Finally 
Willat noticed Moreno's deep interest. Few stars show any 
concern in the pure mechanics of a set, but Moreno was 
different, and Willat asked for an explanation. 

"Well, I have a house on a hill a thousand feet high in 
Hollywood," said Moreno. "I installed a radio set in my 
bedroom and figured from that height I could get any station 
anywhere at any time. I fool with it every night I am there 
but sometimes I can't get the station I want. I've called in 
experts to help me out but you can bet your life after I'm 
through with this picture I won't have to." 

And Willat was tickled to know that he had a real radio 
fan to play the part of a reel radio fan. 

THERE isn't anything right now in Hollywood more de- 
lightful than Florence Vidor's tennis teas. Florence's 
new court, surrounded by eucalyptus trees and looking out 
across the lovely Hollywood hills, is a joy in itself. But 
Florence gets together the most delightful crowds of tennis 
enthusiasts, and a lot of equally enthusiastic watchers who 
know how to applaud good play, and afterward gives them 
tea in her big, cool dining room. 

On Sundays, you will usually find Fred Niblo and Enid 
Bennett, and her beautiful blonde sister, Kath Bennett, 
there, and they all play corking tennis. In competition, 
they have Howard and Kenneth Hawks, both tournament 
players of note, Mr. and Mrs. Charles Meredith, Irving 
Thalberg, Douglas MacLean, Laurette Taylor and Jack 
McDermott. 

The other afternoon Florence had a delightful tennis tea, 
and those who played were: Mrs. Thomas H. Ince, ZaSu 
Pitts, Enid Bennett, Mrs. Charles Meredith, Mrs. Douglas 
MacLean, Ann May. and a number of others. 





"You wretch!" says Merlon Pcltingill — otherwise Glenn Hunter — registering 

scorn for the dummy "villain." He now steps from his stage triumph, 

"Mcrton of the Modes," to the screen version 



A married looking picture! Hoivever, they're not, but 
Matt Moore and Patsy Ruth Miller are reported engaged 



TRAGEDY, in its most dramatic guise, 
stalked into the theater of The Writers 
Club in Hollywood on a recent night and, 
while behind the footlights make-believe joys 
and sorrows were being enacted, wrote in 
stark reality a drama more amazing and 
more heart-breaking than any ever con- 
ceived by the world-famous playwrights who 
sat in the audience. 

On the stage, Frank Keenan, great char- 
acter actor of stage and screen, presented a 
strange little comedy in which he portrayed 
the role of a drunken newspaperman. During 
the progress of the piece there was a slight dis- 
turbance in the audience, but none paid any 
attention to it, so engrossed were they in the 
story unfolding upon the stage. The play 
moved on to its climax where Keenan. 
having just heard that his play had at last 
been accepted by a great New York man- 
ager, looks at the picture of his dead wife and 
says, "What's the use? What does any of it 
amount to — fame or money — without her?'' 

He came off the stage, the applause of the 
crowd still ringing in his ears, those words 
scarcely off his lips, to be met by a white- 
faced friend, to be led to the dressing-room 
where his beloved wife, whom he had left 
happy and laughing in the audience, lay 
dying. He came just in time to kneel down 
beside her, his grease-paint still on his face, 
and hear her whispered words of farewell 
before she passed away. 

Mrs. Keenan had been taken ill during the 

55 





This happy picture of Percy Marmont is offered as a novelty. 
Since he played the tragedy of Mark Sabre in "If Winter 
Comes" the photographers have kept him brooding and sad 



What motor cop coidd do his duty here? Miss Anita Stewart, 

from a scene in "Celebrity pes," the new picture series 

showing "Famous People as You Seldom See Them" 



performance of her husband's little play. She had gone to the 
club, attended a dinner party, and sat through the comedies 
that preceded her husband's act in the best of spirits. The 
audience was a brilliant and elegantly dressed one. Norma 
Talmadge and her mother, with a party of guests, were there. 
Jeanie MacPherson, a special friend of the Keenans, had a party 
which included a number of well known authors. Mary 
O'Connor was entertaining a party of celebrities. When Mrs. 
Keenan, feeling suddenly faint, asked her escort to help 
her out, she did it quietly, not to disturb 
anyone. As they walked along the aisle, she 
suddenly collapsed. Death was due to 
cerebral hemorrhage. 



DOUBLY weird was the coincidence of the 
following play. A play of horror, trans- 
lated from the French, its theme the attempt 
of a girl's father, a famous scientists, to revive 
her after death by means of electricalcurrents. 
The audience was shocked several times as 
the supposedly dead woman lay on the table 
on the stage, beneath a ghastly light, while 
the father and lover tried to bring her back, 
to hear terrible groans that filled the theater. 
They seemed actually to strike terror to 
every heart, and one woman fainted. 

No one knew until the next day that those 
groans came from the dying woman in the 
dressing room just outside the auditorium. 

The Keenans had been married for many 
years, and Mrs. Keenan leaves two daugh- 
ters, one the wife of an army officer, the other 
married to Ed Wynne, famous Broadway 
comedian. Their devotion to each other was 
proverbial in the theater and all Hollywood 
mourns the passing of the motherly, wise, 
happy little Irish woman. They called her 
"Mother Keenan," many of them, and went 
to her for advice and comfort. 

Expressions of deepest sympathy have 
gone to Frank Keenan from the entire 
theatrical profession. 



FIVE years ago they fired her because they thought fifteen 
dollars a week was too much money. 

The other day she sat in the same office, in the same chair, 
and signed a contract that called for twenty-five hundred 
dollars a week for her services on the same lot where they had 
once refused her fifteen. 

That's what happened to Alice Terry, of Hollywood. 
When the Goldwyn studios were the Triangle studios, at 
Culver City, there was a little girl named Alice Taafe who 




They say that seats are reserved along the beach at Venice, California, for 

Alberta Vaughan's daily stroll. Her girlish figure, 'tis whispered, is insured. 

She is the young comedienne of "The Telephone Series" 



worked as an extra for fifteen dollars a week. But retrench- 
ment was in order and the powers that be of the Triangle 
organization decided that fifteen dollars a week for Alice 
Taafe was loo much money. So they called her in and told 
her she was through. 

Xow. Miss Alice Terry has been signed by the Metro- 
Goldwyn-Mayer Company for the lead in "The Great 
Divide," and they didn't think it too much to pay her for a 
single week what the old salary wouldn't have brought her 
in four years. 

That's the way things sometimes happen in the pictures. 

It's funny to remember what possibilities existed in the 
extra ranks of the old Triangle lot. If they had been de- 
veloped or realized by the men in charge, a fortune would 
have been theirs. Gloria Swanson was a comedy girl at 
twenty-five a week, Alice Terry at fifteen, Alma Rubens 
wasn't getting so much, though she was a star, Ann Forrest 
was in stock at twenty-five a week, Rudy Valentino was 
trying to get work there in a picture of Texas Guinan's, 
but they couldn't see him. And these are but a few 
instances. 

RESEMBLANCES are amusing things, and sometimes 
one person will see them where another can't. 

But one of the most striking likenesses that has ever been 
seen in Hollywood is that of Estelle Taylor to Mabel 
Normand, and everybody who knew Mabel a few years ago 
agrees upon it. To sit and talk with Estelle for an hour is a 
startling experience to anyone who knew Mabel Normand in 
the old days. Estelle has the same sparkling black eyes, the 
same coloring and contour, the same black curls and many 
of the same mannerisms. 

Mabel says it makes her feel funny to look at Estelle. 

HOLLYWOOD, at least the feminine portion of it, is 
much excited over a new leading man who has recently 
arrived. Ronald Coleman, who played opposite Lillian Gish 
in "The White Sister," may be credited with causing more 
thrills in the blase bosoms of Hollywood's beauties and stars 
than any other man has done for years. He is now working 
in "Tarnish" with May McAvoy, and he is certainly vieing 
with Jack Dempsey as a target for the fair sex. 

One well known scenario writer told me that she sat 
through "The White Sister" three times in a row just to sec 
Coleman's love scenes. 

Naturally, producers are watching all this with interested 
eyes and are clamoring for his services. The funny part of it 
is that young Coleman came out to Hollywood from New York 
several years ago and tried to break into pictures. He made the 
rounds and offered his excellent record as a stage actor, and 
everybody politely yawned and told him he wasn't a screen type 




Is there anybody in this world icho, at some lime in hi.< life, 

never stuck his tongue out in derisive fashion? Farina is 

lining a mighty </<i<>d job of this ancient pastime 



CHARLIE CHAPLIN has been sued for S50.000 by Leo 
Loeb, a soldier in the marine barracks at Fort Misslin, 
Pennsylvania, on the grounds that Chaplin's great comedy, 
"Shoulder Arms," was based upon [ CONTINUED on page ooj 



< 


W ^ iwKm 








/ / 1 1 •"» ^¥ ^H 


mm 


- V • 

ft ■ 

■ ' i ■ 


m 1 




Catherine Bennett is worthy of note, for she has no ambitions 

to emulate her older sister, Enid, and be a moving picture 

celebrity. She has time, though, to change her mind 



Young and sweet and appealing, Gloria, the chameleon-like, 

t<ikcs on another personality in "Her Love Story," and a new 
hading man in Ian Keith 



57 



Photoplay Finds Mary Fuller 

Eight years ago she deliberately disappeared. Photoplay found 
her living in seclusion, and now shes coming bac\ to the screen 



IT required exactly three months 
of continuous search to locate 
Mary Fuller. For eight years, 
since 1916, she has been living in 
seclusion, cut off from the thousands of motion picture followers 
who had loved her from the early Edison pioneer days. 

It was no easy task to find Miss Fuller. She had covered 
every possible clue to her whereabouts. Yet the hundreds of 
letters inquiring about the ex-star, which had come to Photo- 
play in the last few years, made James R. Quirk, the editor, 
more anxious than ever to locate her. 

During my search for the pathfinding stars, related in the last 
issue of Photoplay, I maintained a careful watch for any clues 
about the one time Edison star. Finally, in California, a 
player, once a member of her company, said that he believed 
Miss Fuller to be living in Washington, D. C. 

There was nothing to verify this, however. A search of the 
District of Columbia directories 
and city telephone books for years 
failed to reveal her. The industry 
itself, carefully combed, could not 
verify this, nor, indeed, could it 
give up a single clue. Mary Fuller 
was forgotten — except by the fans. 

So I went to Washington. "If 
she's there, find her," were the 
final editorial instructions. 

In Washington I first searched 
the newspaper files and records 
but these gave no mention of Miss 
Fuller. Nor could any of the 
Washington newspaper men recall 
her, save one. An old copy desk 
man on The Star remembered that, 
years before, Miss Fuller had a 
relative who was a head of a busi- 
ness school on the southwest cor- 
ner of 1 1 th and New York avenue. 
This, at least, was something. 
Miss Fuller had lived in Washing- 
ton, anyway. 

But the business school had long 
ceased to exist and a public build- 
ing now stood on the corner. No 

one in the district could recall the school and a visit to other 
business schools was equally futile. 

This clue exhausted, I turned to the local film exchanges. 
Most of these officials, however, did not even remember Miss 
Fuller. Then I tried the Washington exhibitors. In the office 
of Tom Moore I learned again that Miss Fuller had lived in 
Washington, at the home of her mother, then residing at Ver- 
mont avenue and Q street, N. W. Also I learned that her 
mother was a widow and that the Fullers were of Irish ante- 
cedents, both important clues, as it developed. 

A visit to the old home revealed that it was now in the heart 
of a negro district. Moreover, no one remembered the Fullers 
in the neighborhood. So I turned back to the District of 
Columbia directory. 

I decided to try all the seemingly likely Fullers in Wash- 
ington, selecting as far as I could widows with Christian names 
of a Celtic flavor. 

Second on my list was 

Nora M. Fuller (wid. Miles) 

h. 4933 Conduit Road, N. W. 

A visit to this address, located in the remote reaches of 
the city, required a search of over an hour, even for an ex- 
perienced capital taxi driver. It was evening, about 9:30 
o'clock, and very dark. 

Finally, I found the place. It is an old fashioned house, 
located some distance from the road, on a high bank and 
reached by a long flight of stone steps. The property, of con- 

58 



By Frederick James Smith 



One of the unsolved mys' 
teries of the screen has 
been the whereabouts of 
Mary Fuller. Mr. Smith has 
done a remarkable piece of 
reporting in locating her 
after newspapers and other 
magazines nad given up in 
despair. We shall all be 
glad to see our old favorite 
on the screen again. 



siderable size, overlooks the city 
reservoir ravine. 

I knocked at the door and a woman 
of middle age responded. When I 
saw her I knew my search was ended. She resembled Mary" 
Fuller remarkably. Across, on a small table, I noted a velvet . 
tarn, such as Miss Fuller used to wear in motion pictures. 

I stated my errand — that Photoplay was seeking Mary 
Fuller— and Mrs. Fuller admitted that she was the ex-star's 
mother. 

"How did you find us?" she asked in amazement. "Mary 
has been so careful to cover every avenue of search. Even her 
bankers and lawyers, in New York, were instructed to keep her 
address a secret." 

I was ushered into the living room, where two portraits of 
Miss Fuller, taken in the Edison days, alone revealed the 
fact of the presence of the actress. 

Still, even the telling of my 
three months' search failed to 
move Mrs. Fuller. It would be 
impossible to see Miss Fuller that 
night. She had not revealed her 
identity to anyone in years. To- 
morrow, maybe. Would I tele- 
phone at 9:30 in the morning? 

Fearing that Miss Fuller would 
probably decline to see me, I tax- 
ied to the house the next morning. 
"That wasn't fair," Mrs. Fuller 
expostulated in greeting me. 
"Mary was going to talk to you 
over the 'phone. Still, you've 
earned an interview. I'll find out 
if she will see you." 

While I waited I gazed about. 
Gardeners were at work in the big 
yard. The old house, with its big 
rose trellised porch, was a quaint 
haven of seclusion. It seemed 
cruel to tear Miss Fuller away 
from all this. 

After what seemed an intermin- 
able delay, I heard someone com- 
ing down stairs. Turning, I saw 
Mary Fuller for the first time in ten years, for the first time 
since I had interviewed her at the old Edison studios. 

She was very little changed. I felt that time had passed her 
by, until I stopped to realize that she is still in her early thirties, 
thirty-three to be exact. 

Ten years had passed— and yet there she was before me 
almost exactly as I had last seen her. She was even wearing 
a wide ribbon about her hair just as I last remembered her. 
Exactly as before, too, it accentuated her brown eyes — large 
and untroubled. Somehow she seemed to fit the strangely old 
fashioned room. Even the roses outside the windows oddly 
fitted the picture. 

"I should be angry with you," she began. "You have 
destroyed the barrier I have built up so carefully. 

"When I left pictures, back in 1916, I felt that I had gone 
as far as I could, with my knowledge and viewpoint of that 
time. I didn't want to go backward — so I quit! I never 
intended it as a definite withdrawal. I have always planned 
to come back and, now that you have found me, I can tell you 
that my return to films will be soon." 

" Why did you hide yourself away so carefully?" I asked. 
"I wanted to rest, forget and study. I was very fortunate 
in the old days. Salaries were not like those of today, but I 
invested all my money — and invested it carefully. I am com- 
fortably fixed — financially, at least — for the rest of my life. 
I never need worry on that score. 

"I have made several trips about [ continued on page 125 ] 





CainpMI 



T"w"T P°«rait of Mary Fuller verifies what Mr. Smith says on the opposite page 
■L Years had passed, and yet there she was before me almost exactly as I last saw her"' 




Wnxmun 



THIS piquant young lady, Miss Thelma Hill, illustrates two good reasons why she is 
in the movies. The Mah Jongg costume is just the photographer's idea of painting the 
lily. She is occupied in improving the scenery around a Mack Sennett bathing beach 




"K/T AKE-UP has made beauties out of plain women but Cecille Evans, Mack Sennett 
avx bathing beauty, stands squarely on her own claims to fame. She is the owner of 
tne $100,000 legs that are frequently substituted 




Wiixman 



WHEN Director Frank Lloyd made his classic, "A Tale of Two Cities," five years 
ago, Photoplay glimpsed her in a little scene with William Farnum, and pro 
claimed her a future star. As Adela Rogers St. John points out, she's more than arrived 



Why Has Florence Vidor Become 
the Toast of Hollywood? 



A YEAR ago Florence Vidor was 
a wallflower beauty. 
Today she is the toast of 
Hollywood. 

And everybody wants to know how it happened. 

Is it because of some deep, vital change in Florence herself? 
Is it because she has freed herself from an incompatible 
husband? Or is it that the day of the sensuous vamp and the 
pert flapper is waning and the womanly woman is coming into 
her own again? 

Personally, I think it is a little of all three. 

Be that as it may, the most talked of event in Hollywood 
today, and one of its greatest surprises, is the transformation of 
placid, reserved Florence Vidor into the most sought after 
beauty in the film colony. 

It had become part of Hollywood tradition that Florence 
Vidor had none of the so-called screen sex appeal. A nice, 
lovely, fine little woman — which 
in this day and age is the acme of 
damning with faint praise. The 
men admitted her beauty, in a 
luke-warm, half-hearted sort of 
way. But there was no real en- 
thusiasm back of it. It was the 
same kind of admiration they ad- 
mitted for Dickens' novels. Yes, 
she was exquisite. Yes, she was 
awfully sweet. Yes, she was ex- 
tremely intelligent. Whereupon 
they disappeared on the trail of 
someone who was neither exquisite, 
nor sweet, nor intelligent. 

Her reputation was a credit to 
the industry. Everybody liked 
her. You never heard a word 
against her. She was looked up to, 
respected, admired. She had a 
circle of friends, mostly women 
and their husbands, who swore by 
her. A great many people agreed 
that she was actually the greatest 
beauty in pictures. But — but — 
well, you just couldn't imagine the 
men raving over her as they raved 
over Corinne Griffith, or Bebe Daniels, or Connie Talmadge. 
Nobody ever switched place cards to sit next to her at dinner. 
Nobody ever compromised her by a misplaced madness of 
devotion. She didn't even collect that adoring circle of younger 
girls that worships at the feet of Mary Pickford and Norma 
Talmadge. 

On the screen it was the same story. Her great beauty, her 
consistently fine acting, her rare good breeding, her taste and 
intelligence, won her a quiet measure of appreciation and 
security. But she never caught tho popular fancy. Women 
with so much less swept by her to hectic acclaim from the 
multitudes. 

When Jim Abbe, one of the greatest of modern photographers, 
came to Hollywood, I took him to photograph Mrs. Vidor. As 
we drove up before her stately house, I told him that I con- 
sidered her the most beautiful woman I knew. 

I remember how she looked, too, in a frock of apricot pink 
satin, with her madonna coiffure of shining brown hair, and her 
gardenia skin. 

As we drove away, I said, "Well, isn't she perfectly beautiful? " 

Jim Abbe finished lighting a cigarette, and then with great 
indifference, he answered, "Yes, but what of it?" 

That remark crystallized the general feeling of men aboul 
Florence Vidor. 

She just had no lure, that was all. 

Now for Minnie Smith or Susie Jones, here, there, and every- 
where about these United States, that may not matter so much 



By Adela Rogers St. Johns 



A remarkable Personality 
Story of a remarkable 
woman by a remarkable 
writer. Photoplay always 
takes pride in the fact that 
it discovered Florence 
Vidor playing in a tiny 
bit in Fox's splendid ver- 
sion of "The Tale of Two 
Cities" and proclaimed her 
boldly as star material. 

[Photograph on opposite page) 



But for a screen beauty, it might be 

serious. There was no lure in Florence's 

eyes, no false promise in her smile, no 

sense-stirring provocation in the lines of 

her perfect face. Beside the startling allurements offered by 

the favorites just then sweeping into power, Florence lingered 

in the background. 

And then, overnight, she emerged as the rage of the Boule- 
vard and our best screen lovers and wisest producers button- 
holed you on the street corners to tell you that Helen of Troy 
was a piker beside Florence Vidor, and that one of her slow, 
soft smiles was worth a week of any other woman's laughter. 

They say that at the height of Lily Langtry's career the 
people stood on boxes and climbed telegraph poles to catch a 
glimpse of her as she drove by. And when the lovely Cunnings 
reigned over London, the police had to be called out to protect 
them when they went walking in the park. 

If it weren't for the police and 
the fear of a cell right where there 
is nothing to do but bounce back 
and forth, as Ring Lardner say.-.. I 
think something like that might 
happen to Florence Vidor right 
now. 

Her vogue is enormous. Men 
who have just met her swear in- 
stantly that she is the long 
adored and never realized ideal of 
their dreams. Corinne Griffith, 
and Barbara La Marr, and even 
Pola herself, have had to play 
second fiddle to Florence more 
than once these days. The 
greatest treat bestowed upon visit- 
ing celebrities is to be asked to 
meet her. She is always placed on 
the right hand of the guest of 
honor now, even when the heart- 
breaking Constance is present. 
Her ' drawing room looks like a 
flower shop. On Easter morning, 
she counted the one hundred and 
seventeen lilies that her adorers 
had sent her and then collapsed 
with a giggle. "It looks like they think I'm dead," she said. 
"I could have such a gorgeous funeral with these." 

She is more than a toast. She is a cult. Men ascend into a 
sort of spiritual ecstasy when they mention her name. One 
middle-aged gentleman who shall necessarily be nameless, but 
who has known and admired many beautiful women, not with- 
out some measure of success, in his day, said recently to a large 
gathering, "She makes men feel like burning candles to her." 
Some of them have even reformed for her sake. And I caught 
one juvenile who prides himself upon his ways with women, 
putting a rose she had worn tenderly away in his pocket. 

A well-known director — a European — was talking to me 
about the sudden "Vidor craze," as he called it, that had hit 
Hollywood. And he said a poignantly descriptive thing, "It is 
as though someone had just turned on a light within a beautiful 
lamp." Of course someone had to answer cynically, "Ah, yes, 
but who was it?" 

That isn't the answer. Mrs. Vidor's popularity is general. 
Her name is never connected with any man's. She has man- 
aged to become the most sought after woman in Hollywood, and 
still maintain an unassailable reputation. Only women don't 
leave her alone with their husbands in the confident way they 
used to. Wives don't particularly desire that their men shall 
be consumed by even the purest fire of devotion. Yet she 
encourages nobody, and she says the frankest and least com- 
plimentary things I have ever heard handed to admiring males. 
She laughs at them all, and quite [ continued on page 105 1 

69 



lie wanted to learn first- 
hand alio i<t cookie-pushers, 

but his thirty years banned 

him — instead of petting 

then gave him respect 







Illustrated by 
J . Henry 



The Cookie-Pushers 



A pee\ into the ways of cake-eaters, cookie-pushers and cocktail flappers 



JOHN WARRINGTON SIMS dis- 
guised himself by the simple expedi- 
ent of parting his name in the middle 
instead of on the side. The guests at 
Shady Rest did not suspect that the simple and unassuming 
John W. Sims was none other than J. Warrington Sims, director 
of "Desert Heart" and other moderately successful program 
features. 

J. Warrington Sims possessed youth, aggressiveness, ambi- 
tion, opportunity — and an idea. The idea had been with him 
for three years and he had created the opportunity. It was a 
combination of the two which brought him to this big, rambling 
hotel in the mountains, where it seemed to him that all the 
flappers and jellybeans in creation had congregated. 

Los Angeles knew J. Warrington Sims by sight and reputa- 
tion; Shady Rest knew J. Warrington Sims by reputation but 
not by sight . . . which was the reason that his incognito 
remained unpenetrated. And Mr. Sims, lounging against the 
rail of the huge veranda, puffing reflectively upon a cigarette, 
permitted a puzzled frown to dwell upon his forehead as he 
pondered upon the difficulties of the task which he had set for 
himself. 

It had been a long and tedious campaign to impress the 
powers-that-be in The Exclusive Film Corporation with the 
belief that his idea would prove a money-maker. Not that they 
disagreed per se, but they were somewhat chary of entrusting to 
so young a director the license to spend nearly a half-million 
dollars of their cherished money. But he had fought doggedly 
. . . and now was definitely embarked upon what he hoped 
would prove one of the greatest photoplays of all time — an epic 
of the jazz age; a classic of flapperdom. 

64 



By Octavus Roy Cohen 



Already he had his story and one of 
the best continuity men in the country 
was at work upon the script. Once con- 
verted to the idea, the company officials 
were giving him free rein; he had completed arrangements with 
a camera man who was a particular pet of his; a superfine 
technical director had been engaged. And when all of that had 
been done Mr. J. Warrington Sims awakened to the fact that he 
was distinctly out of touch with the very persons whom he 
proposed to picturize. 

Sims was thirty years old — young as age goes in these days of 
protracted existence, but far older than the young men and 
women whose frolics and foibles he planned to perpetuate on 
the screen. At eighteen years of age the girls of Johnny Sims' 
crowd had not been overly prone to permit hand-holding; he 
confessed frankly that he knew nothing whatever — at first hand 
anyway — of cigarette-smoking young ladies who privileged 
their masculine companions to pet them freely upon casual 
acquaintance. 

Wherefore, as an indication of his painstaking nature, he hied 
eastward in search of a large and isolated hotel where flappers 
were in the habit of gathering in t'ie summer, that he might 
study them at first hand and with great intimacy. Shady Rest 
was ideal ... he was satisfied of that the day he arrived — a 
big, rambling structure framed against the mountainside, a tiny 
river silvering through the valley below . . . and girls — 
thousands of girls it seemed to him that first evening in the 
capacious dining room — girls from here, there and everywhere 
— young girls with bobbed hair and fresh, eager, pretty faces — 
. . . girls who looked for all the world as though they had been 
poured from the same mould. 



And so he set steadfastly about making their ac- 
quaintance. His reception amazed and appalled him. 
They conferred upon him the one thing in the world 
which he did not desire — respect. He was nonplussed 
at this attitude — for the first time in his brilliant career 
he felt like an old man where a meager fortnight before 
he had patted himself on the back because Hollywood 
referred to him as the kid wonder. The flappers whom 
he met were very polite — too confoundedly polite. In 
his society they were merely extremely nice young girls, 
urgent with life and fun — but they were identical with 
the girls of his own generation. 

Yet immediately as they turned to their loose- 
jointed, slick-haired, young-man friends, their entire 
demeanor altered. It was in the association of these 
boys and girls with each other that he saw the atmos- 
phere which he was seeking. He wasn't particularly 
interested in their attitude toward the older generation 
— it was their own inter-relation which interested him. 
Vet he struggled futilely to penetrate the armor of 
respect which they displayed toward him. 

It was a staggering situation. John W. Sims was 
extremely world-wise for his age. Someone on the coast 
had even gone so far as to hint that he was by way of 
being hard-boiled. Certainly he was wise enough to 
take adequate care of himself. Women he knew as well 
as any man of thirty can know them — and a great deal 
better than most men ever do. Until now he had 
fancied that he would cut considerable ice in a hotel 
overflowing with flappers. That idea had fled. He was 
frankly worried as to the immediate future. He was 
getting nowhere, accomplishing nothing. It was 
essential that he cease being a spectator of flapperdom; 
it was his task to project himself into that atmosphere 
and to absorb it in such huge quantities that his picture 
should have an unmistakable verisimilitude. 

Even Dot Mason was polite to him and with her he 
had tried his very best to break down the barrier of 
years. Dot was a vivid little thing; full of life and 
gaiety — free and thoughtless and brainy and deliciously 
irresponsible. He had singled her out the night he 
arrived as a perfect example of the type he sought to 
understand. She was pretty and blonde and slender 
. . . and the only time she had lost any of her respect 
for him was the day he made the mistake of inviting 
her out on the tennis court. It was there that he 
learned there was something in the life of the average flapper 
other than the seeking of ribald diversion; it was there that he 
learned she had muscles of steel, a quick eye and perfect co- 
ordination. She trounced him soundly — and in the few 
minutes of conversation following his disastrous excursion onto 
the courts she was herself with him — joshing him unmercifully 
about his lack of dexterity with a racket, and he fancied that 
she accepted him as one of her crowd until he escorted her back 
to the hotel and she parted from him with a formal — 

"Thank you so much for a delightful afternoon, Mr. Sims. 
I do hope I shall see you later." 

He groaned. His fleeting glimpse of the unreserve and 
naturalness beneath her theretofore formal exterior had been 
intriguing and refreshing. It was that which he sought to know 
and understand, but his best attempts since then to break down 
her reserve had met with a chilling lack of response. She paid 
respectful heed to what he said, agreed with everything — then 
became her effervescent, ebullient self the minute some callow 
youth strolled languidly up to claim her society. 

Sims found himself in the annoying role of in-betweener — he 
was too ancient for the youngsters and entirely too young for 
the sedate parents who danced heavily, played bridge and Mah 
Jongg constantly, and golf habitually. They seemed aghast at 
the diversions of the younger crowd — and helpless to do any- 
thing about it. Sims realized that he would get no help from 
them — he came to the conclusion that he must convert himself 
into a jellybean unless he was to fail ignobly. 

Wherefore he sought Dot Mason late one afternoon as she 
descended to the hotel veranda, ravishingly attractive in a filmy 
summer gown which made no pretense of concealing her bud- 
ding maturity. She was frankly glad to talk with him, for, 
after all, he was an attractive man and single. They chatted 
for awhile of nothing in particular and then, quite suddenly, he 
came to the point. 

"Miss Mason," he said earnestly, "I want to ask you a very 
personal question." 



Before his eyes a melamor- 
phosis occurred: theflappt r 
fled and a woman supplanted 
her: a clear-eyed, radiantly 
happy woman, who /mi her 
arms around In* neck and 
offered him her lips 








"Shoot!" she invited — then flushed with embarrassment. 
"What is it, Mr. Sims?" 

He leaned forward and held her eyes. "Miss Mason, have 
you ever been on a petting party?" 

Her eyes opened — she gasped. "Have I — what?" 

"Have you ever been on a petting party?" 

She saw that he was very serious indeed, but in spite of that 
she giggled. "Certainly." 

He gulped. "I want to ask you a favor — a great favor. I 
have reasons . . . well, anyway . . . Miss Mason, do you 
trust me?" 

"Why, yes." 

"You believe that I am a gentleman? 1 " 

"I don't believe anything else." 

"Miss Mason ... I wonder if you . . . that is . . . Miss 
Mason, will you take me with you on a petting party?" 

The girl blinked — her first thought was that the man had 
gone suddenly insane. "A petting party!' - she exclaimed. 
"With you?" 

"Yes. Why not?" 

"But — " her eyes twinkled — "you couldn't pet." 

"Hmph! Try me. Really, this isn't idle curiosity. I have 
a very valid reason for this — er — peculiar request. And I could 
pet — really I could." 

"No. You're too old." 

"I'm onlv thirtv." 

"Only!" 

"Do you call that old?" 

" Well," judicially, " it isn't as old as mother and dad, but it's 
a darned sight older than I. I'm nineteen." 

"Old enough to be safe with me. And if you will grant me 
this favor, Miss Mason, I'm sure you'll never regret it. Some 
day I'll explain. You see. I am anxious to learn at first hand 
something about this terrifying new generation which has 
sprung up since the war. And the only way I can learn is by 
personal contact—" [ continued on page 109 1 



Announcing GRACE CORSON, Fashion 




This close-fitting walking suit 
of beige twill, with wrap-around 
skirt and straight trousers of the 
same cloth, is especially good 
for town. With it Miss Corson, 
who has just become associated 
with Photoplay as its fashion 
authority, carries a cross-fox, 
and scarlet pinseal envelope 
purse. The high-crowned beige 
felt hat ivith cock's head and 
plain shoes of beige suede with 
dark brown heels and straps 
complete the costume 



What Miss Corson 
says about this gown 

"This costume, worn by Carmel 
Myers in 'Broadway After 
Dark,' is more than extreme. It 
is ridiculous. There is not a re- 
deeming feature in this design. 
The lavish use of fur on gowns 
is never a good idea. An almost 
entire absence of accessories 
ivould have helped. But in- 
stead, earrings, necklace, brace- 
let, rings, tiara, have all been 
used. Brocaded slippers of a 
different design of brocade used 
in the train add still another 
discordant note" 



Suit from ROMEO DE LALLA 





c Dra r wings by Grace Corson 



Fur from J A ECKEL 

This view of the beige tailleur shows the 

mi usual revers, the nipped-in waistline, 

satin vest and crystal buttons 



IT has been the habit of fashion authorities of New York and Paris to deride the 
clothes of the screen. In years past many extravagant and atrocious ideas in 
design have been shown. Notwithstanding a sincere effort on the part of pro- 
ducers, some of the greatest stars have persisted in concocting and wearing clothes 
such as no well informed American woman would dare to wear in public. Some of 
our greatest directors have been equally guilty. Frankly, as far as style is con- 
cerned, the American screen has been a joke, but with the development of the 
picture, there has been a development of the stars and directors, and we read daily 
of trans-continental and trans-Atlantic trips made by stars and studio costumers in 
a sincere effort to secure for the screen, clothes such as are worn by the smart 
women of New York and Paris. 

Photoplay, for years, has been trying to show the American public, through the 
medium of photography, the new clothes designed for actresses in New York and 
Paris. There is no doubt that today the screen is the greatest single style influence 
in America. But it has been a difficult, well nigh impossible problem, to translate 
it to magazine pages. We believe that Photoplay has now solved it. 

There are not more than three or four recognized fashion authorities in this coun- 
try, and Photoplay considers itself very fortunate in being able to introduce to its 
readers one of these very few in the person of Miss [ continued on page 99 ) 



66 






Authority 




_ y^P^* ' v ' - 



Nothing short of a coronation would justify this gown worn by Lcatrice Joy in " Triumph," says Miss Corson. The use 

of ermine, brocade, tiaras, enormous jewels, would only be acceptable on such an extremely formal occasion. Miss Joy 

at least attempts to simplify her costume by plain slippers and a total lack of jewelry 




Cloak from JAECKEL 



Smart black satin and ermine afternoon 

cloak with novel close-fitting hip lines and 

loose back. Long hip sash 




Informal evening gown of gold crepe; 

metal gardenias at shoulder. A smart 

costume for the supper club 




Fur from JAECKEL 



Black alpaca suit. Mannish icaistcaat, 
crystal buttons. Jacket lining, waistcoat 
and Japanese marten fur of vivid yellow 

67 



Most Complete and Authoritative 




™e Romantic 
History o/tk 
Motion 
Picture 

By Terry Ramsaye 



Villa was winning and he would let the wide, wide world 
know. He was one with princesses and potentates, this 
Alexander of the chaparral. 

Villa, like every military conqueror, was a dramatist. It 
was the physical excitement and personal experience 
emotions of war which lured him on. Modern wars are won 
by bookkeeping and the strategy of maps on flat-top desks. 
But Villa's generalship was of the feudal age, when valor was 
efficiency. 

Villa rode to battle and conquest because he loved the 
vision of himself on horseback. 



Underwood & Underwood 



Pancho Villa insisted that he always 
be shown riding at the head of a col- 
umn of soldiers — his idea of glory in 
the movies 



Chapter XXIX 

PANCHO VILLA, Mexico's "man 
on horseback," bandit, rebel and 
patriot, was riding, silver spurred 
and merry with conquest and sin, at 
the head of his tatterdemalion legions 
on to Juarez. 

There was a hint of the coming of the Mexican 
springtime in the air. The yuccas were greening 
in promise of the spires of white bell blossoms that would soon 
dance above the bayonet leaves of the thickets of La Mula Pass. 

The dream of glory that ever rides ahead of the "man on 
horseback" rode with the bold, brave Pancho, friend of the 
people, military heir-apparent to the kingdom of oil and gold 
and tobacco. 

"Viva, Viva Panchilo!" 

It was a day of triumph, drunk with the ardor of the Mexican 
sun and — aguardiente. 

With Villa rode Ortega and Rodriguez, he that was known as 
"the butcher." Natera and Monclovio Herrera were on the 
way. Wondrous names of romance, these, the lieutenants and 
compatriots of Pancho, the rebel chief. 

Copyright, 1924, 

68 




Louis and Auguste Lumiere, 
two Frenchmen, gave their 
name to the film of their in- 
vention, and it has long been a 
dominating one throughout the 
motion picture world 



At right — a strip of the first 

Lumiere film ever taken — 

M. and Mme. Auguste 

Lumiere and their little girl 

by Terry R&me&ye 




Story of Pictures Ever Wr i t t e n 



T TERE is a chapter of revelations, telling 
■^-now for the first time how world events, 
sensations in their day and only for a day, 
came to play their parts in the building of the 
empire of the screen. 

More and more as this history goes on trac- 
ing the thread of motion picture development 
do we see that all of us, the whole public, are 
the true makers of the motion picture. The 
men and women who strive at desk and studio 
and theater are just our agents. 

After all, the motion picture is not merely 
the affair of the few who live upon it. The 
screen is the real property of the whole people. 
There is much in these pages to show this. 
We can read here how the picture has been 
made in its day to serve every idea, regardless 
of who had the idea. 

And here are flashes of dramatic moments 
in many lives, tales of adventure and millions, 
of luck and chance and foresight, one as 
richly rewarded as another. It is a chapter 
rich in personalities — Villa of Mexico, Rev. 
Hannibal Goodwin, Rex Beach, Eddie Weigle, 
Kitty Kelly, Mary Pickford, de la Perrier — 
names that are familiar and names that are 
strange flit through the sequences of history. 

JAMES R. QUIRK. 




And Villa ahorseback, in consequence of his propaganda of 
glory, became a figure of striking dramatic interest in the 
motion picture. Never of the slightest importance to the 
screen, he lighted it for a moment with the 
flare of his ambition. He did not. after all, 
tell the world of the glories of the 
great Pancho, but he tried. 

The year of 1914 had just 
dawned when agents of Villa in El 
Paso on the border let it be known 
that the conquestador could be 
approached for the motion picture 
rights of his war. 

The Kings of Babylon graved 
their conquest of the Hittites in 
tablets of stone. Trajan had his 
column, and Pancho Villa would 
inscribe his glories in the living 
shadows of the screen and let the 
theater proscenium be his Arc de 
Triomphe. Meanwhile, in an im- 
mediately practical sense, pictures 
of the success of Villa would make 
Villa more powerful in laying 
tribute of those foreign interests 
which could use the friendship of 
any Mexican government what- 
soever. 

The El Paso representatives of 
a number of motion picture con- 
cerns sent wires away to their 
home offices in New York. New 
York home offices in the motion 
picture industry usually let tele- 
grams from such inconsequential 
persons as El Paso branch ex- 
change managers ripen on the desl 

And Harry E. Aitkin, president of the Mutual Film Corpora- 
tion, read his mail and messages that morning. There was an 
appeal to the ever-glowing imagination of Aitken in this 
daring idea. Saturday, January S, 1914, Frank M. Thayer, 
acting for the Mutual Film Corporation, signed a contract with 




Samuel Rothafel made mutton picture theaters a place 

for flowers, music and art instead of an auditorium 

with a screen anil rows of seats 



Fate, however, entered. 



Lottie Pickford took Die lead in "The Diamond from the 

Sky," which Sister Mary turned down. But Mart/ rightly 

figured that serial stunts weren't conducive to enduring film 

fame. Besides, she got a big raise by refusing 

Villa in Juarez, taking over the 
screen rights to the Villa version 
of the salvation of Mexico by 
torch and Mauser. It was agreed 
that Villa was to fight his battles 
as much by photographic daylight 
as possible. He was to share on a 
percentage basis on the earnings 
of his pictures. He received in 
hand, paid in most excellent 
gringo money. S5.000. 

The story leaked by way of the 
bars and keno parlors of Juarez 
across the Rio Grande to the hotel 
bars of El Paso where the corre- 
spondents were covering the 
.Mexican civil war in comfort. 

The story clicked into the office 
of the New York Times at mid- 
night within the week of the con- 
tract making, and at one o'clock 
in the morning a reporter got H. 
E. Aitken on the telephone at his 
apartment at 130 West 57th 
Street. Aitken was solemn, dig- 
nified and surprised, according to 
his statement quoted in the Times. 
It seems also that he was per- 
turbed at having gone into a sort 
of partnership with Villa, the out- 
law — this despite the fact that 

Aitken had been in the motion picture business several years. 
The Villa story went around the world in the newspapers and 

excited interested, though whimsical, comment on the part of 

many staid journals which had never heard of the cinema on 

the editorial page before. 

Villa delayed his projected attack on the city of Ojinaga until 

69 



the Mutual could bring up its 
photographic artillery. When the 
cameras had consolidated their 
position the offensive swept for- 
ward and Ojinaga fell to Villa and 
film. 

When the pictures reached New 
York they were found to contain 
too much Villa and not enough 
war. The films were shown in the 
Mutual Film Corporation's pro- 
jection room to various officials. 
Francisco Madero, Sr., the aged 
father of the murdered president 
of Mexico, was in the audience 
that January 22, 1914, exiled from 
his home. 

When the victorious Villa rode, 
close-up, through the streets of 
Ojinaga, a handsome young officer 
was at his side. The elder Madero 
leaped to his feet and shouted his 
name, "Raoul! Raoul!" The 
motion picture had discovered for 
him his missing son. Raoul 
Madero was now riding to ven- 
geance for the family, in the rebel 
army. 

Down through Mexico with 
Villa the Mutual's special camera 
cars traveled on the military 
trains, bearing to the peons the 
trademark message, "Mutual 
Movies Make Time Fly." Villa 

became one of the worst of that genus described in camera 
vernacular as a "lens louse." He had to be photographed 
riding at the head of a column every little while whether he 
needed it or not. Villa was not one of those controlled souls 
who can take it or let it alone. This waste of film annoyed one 
member of the camera staff into an expedient of cranking an 
empty machine. 



GLINTS OF ROMANCE IN 
THIS CHAPTER 

HOW Pancho Villa, the Mexican 
rebel chief, became the first star-pro- 
ducer, fighting for conquest and 
Mutual Pictures in 1914. 

HOW a job she did not take raised 
Mary Pickford's salary, when they 
wanted her to star in a great serial, 
"The Diamond from the Sky," to 
$4,000 a week. 

HOW a diamond ring, nerve and 
luck made an obscure newspaper 
photographer a famous war corre- 
pondent, with adventures from 
Tampico to Antwerp. 

HOW a German propaganda picture 
uncovered a romance of two wars in 
the career of Lt. Armand de la Per- 
rier, commander of the U-35, who 
kept his log in film records. 

HOW little Kitty Kelly of Chicago 
started the new profession of motion 
picture editor for the newspapers in 
her job as the first reviewer for the 
Chicago Tribune. 



"I fooled the greaser that time 
— there's no film in the old box," 
he remarked to his assistant. He 
was overheard by a Mexican who 
understood Americanese. The 
cameraman was put over the 
border with a blessing and advice 
that afternoon. 

It probably would have been 
pleasanter to Villa to have shot 
the cameraman, but Villa was in- 
terested in the film business now. 
Business forces many good men 
into compromises like that. 

For the benefit of the films Villa 
staged an excellent shelling scene 
with a battery of light field guns. 
The picture went from close-ups 
of the guns to telephoto long shots 
of the hillside under fire, with 
bodies of men flying in the air 
after the shell bursts. The ugly 
rumor got about that the hillside 
had been planted with otherwise 
useless prisoners as properties. 

But the evidence of the films is 
not to be accepted entirely for 
that. After the battle of Torreon 
it became apparent that the war 
needed a director and a scenario 
writer. H. E. Aitken discovered 
then what others have spent a 
great deal to learn since, that 
the best place to make war 
pictures is on the studio lot. Aitken went south, and on March 
10 returned from Juarez with a new contract for the making of 
"The Life of Villa," as per a good snappy New York scenario. 
A staff was sent into Mexico to get the atmosphere, data and 
certain important scenes of Villa in action and close-ups to 
match into the continuity. Then the picture making of the 
Mexican war was transplanted to [ continued on page 113 1 



Before and After Helen Ferguson's Nose Operation 





As noses go, lh is isn 't a bail looking nose. But the fact thai 
this is the only profile picture ever taken of Helen Ferguson 
before her nose operation proves that all directors fought shy 
of showing it on the screen. They contended it marred her 
beauty in pictures 

70 



And this adorable, though slightly altered, nose proves that 
Miss Ferguson can have as many profiles taken as she 
wishes. Also without reflecting on her beauty. The change 
is so slight that only beauty experts, film directors — and 
Miss Ferguson — can tell it. But it is there 







A SONNET IMPRESSION OF CORINNE GRIFFITH 



A book of verses bound in scarlet leather, 

A satin ribbon lying in the snow; 
The poise and lightness of an eagle feather, 

The vivid crimson of the sunset plow. 
Hair that is like the wind in forest places. 

Eyes that are deep and cool as mountain lakes; 
Mirrors reflecting back a hundred faces, 

Throb of a heart that sings before it breaks! 



Ice that is thinner than it seems, that glistens 
Like a warm jewel, when dawn is in the sky — 

A flowing stream that laughs, and never listens; 
Echoes that call and lure and sometimes cry. 

Velvet of royal purple, candle light, 

And the swift darkness of a summer night ! 

Margaret Sunr/sler 



The Photoplay Medal of Honor 

For the best picture released in 1923 

Winners of 

Photoplay Medal 

1920 
William Randolph Hearst 

for "Humoresque" 

1921 

Inspiration Pictures, Inc. 

for "Tol'able David" 

1922 
Douglas Fairbanks 
for "Robin Hood" 

What was the best motion picture of 1923? 





THE two and a half million readers of Photoplay are 
again invited to award the Photoplay Magazine 
Medal of Honor. Their votes will decide to which 
picture of 1923 shall be awarded the trophy that is con- 
ceded to be the mark of supreme distinction in the world of 
motion pictures. 

The ballot boxes are now open. They will close October 1. 
All readers of Photoplay are urged, in the interest of better 
pictures, to cast a ballot for the one which, in their estimation, 
was the best picture released in 1923. 

This is the fourth of these medals offered by Photoplay 
Magazine. The first Medal of Honor, for 1920, was awarded 
to William Randolph Hearst, whose "Humoresque," a Cosmo- 
politan production, was voted the best photoplay of that year. 
The Medal of Honor for 1921 went to Inspiration Pictures. Inc., 
for "Tol'able David," in which Richard Barthelmess starred. 
The third, for 1922, was awarded to Douglas Fairbanks for his 
wonderful production of "Robin Hood." Who will get the 
fourth? 

Photoplay Magazine wishes again to call attention to the 
fact that the Medal of Honor is the first annual commemoration 
of distinction in the making of motion pictures. Voters should 
bear in mind that the award should go to that picture which 
most nearly approaches perfection in the matters of theme, 
story, direction, acting, continuity, settings and photography. 
The decision rests entirely in the hands of the readers of Pho- 
toplay. 

As has been the case for the past three years, the voting is 
delayed six months after the close of the year so that pictures 
released at the end of the year may have the opportunity of 
being seen in all parts of the country. Thus, all photoplays 
are given an equal chance. 



Below will be found a list of fifty pictures released in 1923. 
They are printed in order to refresh your memory. You are not 
limited to them but may cast your ballot for any picture 
released in 1923. 

Photoplay is proud of the selections made by its readers for 
the past three years. "Humoresque," the first winner, was a 
remarkably touching story of mother love. "Tol'able David" 
was a beautiful presentation of the spiritual development of an 
American boy. And "Robin Hood" was a magnificent spec- 
tacle in which, while the story was absorbingly interesting, it 
was overshadowed by the marvelous scenic effects. 

The Photoplay Medal of Honor is worth winning. It is of 
solid gold, weighing 1233^ pennyweights, and is two and one- 
half inches in diameter. It is being made, as were the other 
medals, by Tiffany and Company, of New York. 

To register your vote in this contest, fill out the coupon on 
this page, printing plainly the name of the photoplay which, 
after careful thought, you consider the best picture of 1923, 
and mail it to Photoplay's editorial offices, No. 221 West 
57th street, New York City, so that it will reach its destination 
not later than October 1, 1924. If you wish to send a brief 
letter, explaining your choice, do so. 

This announcement, with the coupons, will appear in one 
more issue, having started with the July number. 

Here is your chance to do something towards securing better 
pictures. It is your duty, if you desire better pictures, to cast 
your vote in this contest. By so doing you honor the best in 
motion pictures and you encourage producers to put vision, 
faith and organization behind their product. Don't delay and 
thereby give yourself an opportunity to forget to vote. 

If, by chance, there should be a tie, equal awards will be 
made to each one of the winners. 



Photoplay Medal of Honor Ballot 
Editor Photoplay Magazine 

221 W. 57th Street, New York City 
In my opinion the picture named below 
is the best motion picture production re- 
leased in 1923. 



NAME OF PICTURE 



J^lamc . 



Address _ 



Fifty Pictures Released in 1923 



Abraham Lincoln 

A cquiltal 

Anna Christie 

Ashes of Vengeance 

Bad Man 

Big Brother 

Bright Shawl 

Christian 

Covered Wagon 

Down to the Sea in Ships 

Enemies of Women 

Eternal City 

Fighting Blade 

Flaming Youth 

Girl I Loved 

Green Goddess 

Grumpy 



His Children's Children 

Hollywood 

Hottentot 

Human Wreckage 

Hunchback of Notre Dame 

If Winter Comes 

Light that Failed 

Little Old New York 

Long Live the King 

M erry-Go-Round 

Only 38 

Penrod and Sam 

Potash and Pcrlmiiller 

Richard the Lion-Hcartcd 

Rosita 

Ruggles of Red Gap 

Scaramouche 



Spanish Dancer 

Spoilers 

The Ten Commandments 

To the Ladies 

To the Last Man 

Trilby 

Twenty-One 

Vanity Fair 

Virginian 

Voice from the Minaret 

West of the Water Tower 

Where the Pavement Ends 

White Rose 

While Sister 

Why Worry? 

Woman of Paris 

Zaza 



72 







Conway Tearle and his wife, who 
is well known to theater-goers as 
Adelc Rowland, in a setting of well- 
clipped hedges and lawns, delight- 
fully suggestive of cool, rich verdure 



Conway 
Tearle's 

Home 



The liring room of their home is dis- 
tinctive in that the goldfish are not 
obliged to confine their activities to 
swimming around a bowl but are fur- 
nished a large marble pond with sca- 
Weed and castles. And since the 

Tearle marriage is famously success- 
ful, there is no significance in the fact 
that they built the goldfish right into 
the hous( , to have them handy 




You Can't 
Kid 
an Actor! 



BENEATH all the wit — spontaneous and 
slow combustion — lies the serious side 
that makes an actor an actor. Here we 
have Ben Turpin, the inimitable, showing 
what he would do if given "his chance." 

Every comedian desires to play serious roles. 
Every tragedian would essay the frivolous. 

Most comedians want to portray Hamlet. 
But Mr. Turpin is different. He's too modern 
for that. The pictures on this page reveal the 
inner urge, beating its embryonic wings within 
his histrionic shell. 

Ben would be nothing less than a sheik, a 
thinker, an aesthetic dancer. 

And he would if he were not restrained. 





*■*-■ ... 



"The Thinker": While 
"The Thinker" of the great 
French sculptor, M. Rodin, 
seems to think, Mr. Turpin 's 
" The Thinker" only thinks he 
thinks. Merely a minor dif- 
ference, of course 



"The Sheik": The repose expressed by Mr. Turpin is 
both artistic and comfortable. If the cigarette were held 
parallel to the floor, then the artist's mouth would have to 
lake the same position, which woidd prevent the haughty 
poise of the head, and a sheik must be haughty at all times 



" The Faun " : Here we have the true artist. His appeal- 
ing, triumphant smile, just as he embraces the nymph, is 
exactly what one would expect of a faun. The young 
woman, who is Lois Boyd, Sennett beauty, has thrown up 
her hands in token of surrender, thus completing the illu- 
sion that beauty surrenders when it has nothing else to do 




74 



Photoplay Magazine Advertising Section 



75 




It gives the nails a lovely rose brilliance 



This Liquid Polish 

needs no separate polish remover- 



WHAT a joy not to have to 
use a separate polish re- 
mover! To save you this bother, 
Cutex has put up their wonderful 
new liquid polish in the simplest 
way, without any separate polish 
remover. 

When you are ready for a fresh 
manicure it is just as easy to take 
off the old polish as it is to give 
the nails their fresh rosy lustre. A 
drop of the polish itself, spread 
over the nail and wiped off before it 



dries, removes every trace of polish. 

And how convenient it is to 
put on. The tiny brush holds just 
the drop needed to spread smooth 
and evenly over one nail. It leaves 
a velvet smooth rosy surface that 
is bewitching. Yet it is so thin 
the nails look naturally pink and 
glistening — not artificial or var- 
nished, as some liquids make them. 

And this lovely surface lasts 
and lasts without cracking or split- 
ting around the edges. The nails 



keep the charming rose color of 
the smart Parisian manicure for a 
whole week. And besides all this 
never the fear of wanting a fresh 
manicure and finding yourself lost 
because you can't take off last 
week's liquid polish. 

Cutex Liquid Polish and other Cutex 
preparations are 35c at all drug and 
department stores in the United States 
and Canada and chemist shops in 
England. It comes in two of the 
complete manicure sets. Sets are 60c, 
$1.00, $1.50 and $3.00. 



MAIL THIS COUPON WITH I2c TODAY 



THE COMPLETE MANICURE — 

Send 12c for Introductory Set 

First shape the nails with the Cutex emery board. Then soften and 
remove the dead cuticle with Cutex Cuticle Remover and a Cutex 
orange stick. Then comes Cutex Liquid Polish or the new Powder 
Polish. Between manicures keep the nails healthy with Cuticle 
Cream. Send the coupon below with 12c today for the special 
Introductory Set containing trial sizes of all these things. If you 
live in Canada, address Northam Warren. Dept. Q-8, 200 Moun- 
tain St., Montreal, Canada. 



C«£, r - 



Northam Warren, Dept. q-s 

1 14 West 17th Street, New York 

I enclose 12c in stamps or coin for new Introductory Set including 

a trial size of the new Cutex Liquid Polish. 

N ame 



Street- 



tor P. O. box) 



City_ 



. State. 



When you write to advertisers please mention niOTOI'I. \Y MAGAZINE. 



A Leading Man 

whose 

Ambition is to 

have 

Long Pants 




He's orthj thirteen, ii Ben Alexander, but "Boy of Mine" 

proved that age alone does 7iot make an actor. At left, with 

Henry Walthall in a scene from that picture. 



By I 



van 



IT is difficult to talk to a leading man 
when his heart is broken. You feel it, 
as it were, bleeding all over the conver- 
sation. 

But he was very nice about it. When I heard about the dis- 
aster and knew that he hadn't eaten anything for two days — 
that is anything to speak of — I suggested postponing our little 
talk. But he wouldn't have it. I suppose actors learn to go 
ahead with their roles no matter what their internal feelings 
may be — to laugh and jest when their souls are torn. 

Besides, he is my favorite leading man and I was really sym- 
pathetic. I think he needed sympathy. The world doesn't 
always understand. 

Of course it was a woman — a siren. She had black, bobbed 
hair, and she wore a red ribbon in it. He admitted that the 
red ribbon had something to do with it. 

"It — it all happened on account of my insisting in realism in 
my work," he told me, man-to-man, and trying hard to be care- 
less and blase about it, as though one's heart is broken every 
day. "Can't expect girls to understand about a fellow's work, 
I suppose." 

"Well, hardly," I said, feelingly. 

"Well — we were playing 'The Barber of Seville.' I was the 
barber. And now I ask you if a barber doesn't have to have 
some hair to cut, doesn't he? She had a doll — just a plain, 
ordinarv old doll, 'sfar as I could see. Had long, yellow hair 

76 



. down its back. When I had to barber, 

Ot. fohnS why, I just cut off its hair. I was the bar* 

** ber of Seville, wasn't I? Well, she got sore 

then and went home and said she'd never 

speak to me again and she hasn't. I don't care, of course, 

whether she does speak to me or not. But did you ever hear 

anything so silly — about an old doll, too?" 

For the hero of this newest Hollywood heart-tragedy was Ben 
Alexander, never to be forgotten for the exquisite poignancy of 
his childhood performance in Griffith's "Hearts of the World" 
and now at 13 years, arrived at the dignity of a contract with 
First National. He had a part in "Boy of Mine," and it was 
a fine piece of dramatic work. 

The best way to describe Ben Alexander at the present 
moment is to say that his voice is changing. He starts a sen- 
tence way down in the bass, and before he's finished it shoots 
up like a sky-rocket and becomes pure tenor. 

The unreliability of his vocal chords annoys Ben profoundly. 

"Bye and bye I won't talk like this," he explained apolo- 
getically. " Maybe you better wait until it — settles before you 
interview me." 

I assured him that his vocal eccentricities wouldn't register 
on paper and he gave me a sheepish but relieved grin. He con- 
fided to me that he thought he ought to have long pants pretty 
soon. " Mother says not until I'm in high school," he said, 
"but it's awful hard to know what to do with all your legs." 



Photoplay Magazine — Advertising Section 



77 




He knew he was lucky to have her for this last dance of the evening — she looked as sweet and fresh as when 
she arrived. She was one of those women who know how to retain their subtle charm of complexion 

Do you use the wrong 
shade of powder? 

By Mme. Jeannette 



YOU wouldn't think of wearing two 
different shades of stockings at one 
time — yet how often we see women with 
one shade of skin wearing an entirely 
different shade of face powder! 

This is one of the very important con- 
siderations in using powder effectively 
— it must match the tone of your skin. 
Pompeian Beauty Powder is found in four 
shades, one for each of the typical skins. 

The following general description will 
be a guide in deciding your shade of skin: 

The Medium skin is found with almost 
any shade of eyes or hair, but the actual 
tone of the skin makes the type! 

These skins need the Naturelle shade 
of Pompeian Beauty Powder. So many 
American women should use this par- 
ticular shade, and it is so perfected in the 
Pompeian Beauty Powder that I would 
almost persuade any woman who hasn't 
a striking blonde or a brunette skin to try 
this powder in this shade! 

The White skin appears in very blonde 
types, and occasionally in the very black- 
haired Irish type, but most frequently 
with red hair. If you are sure your skin 
is chalk-white, you may use White powder 
that is found in the Pompeian Beauty 
Powder. 



The Pink skin is a skin that can be 
turned into a definite asset of beauty if it 
is properly treated. Women with pink 
or flushed-looking skins often make the 
mistakeofusingawhite or a dark powder. 
This only accents the pinkness — but 
they should always use the pink tone of 
powder — the Flesh shade of Pompeian 
Beauty Powder. 

The Olive skin is rich in color tones, 
though the average person may believe 
the contrary ;for few olive-skinned women 
have much red or pink in their cheeks. 
The shade of powder for this rich skin is 
Rachel Pompeian Beauty Powder. This 
powder shade on an olive skin accentuates 
the color of the eyes, the red of the lips, 
and the whiteness of the teeth. 

All shades, at toilet goods counters, 
60c per box (Canada, 65c). The very thin- 
model compact, $1.00 (Canada, $1.10). 

After reading my descriptions of skin- 
tones, and the shades of powder they 
require, you probably will be able to go 
directly to your favorite shop and buy the 
shade of Pompeian Beauty Powder your 
skin needs. If you are in doubt between 
two shades, check them on the coupon 
below and I will send you, without 
charge, a sample of each. 



POMPEIAN LABORATORIES, CLEVELAND, OHIO 

Also Made in Canada 

Q 




6 1924, The Pompeian Co. 

When you write to advertisers please mention photoplay mac 



£ 



4 



The new 

POMPEIAN 

POWDER COMPACT 

— a thhi model — 

Every woman who uses Pompeian 
Beauty Powder and is a devotee of 
its superior qualities will welcome 
the fact that the new Pompeian 
Beauty Powder 
Compact is 
now available. 
It is the same 
powder, with 
the same fine 
adhesive qual- 
ity, and it may 




be had in the four shades 
— Naturelle, Rachel, Flesh, and 
White. 

It comes in a gilt lacquered case 
with a tracery of violet-covered 
enamel in delicate design on the 
top. 

This is an exceptionally thin 
model — the correct compact for 
the smart bags— and it fits easily in 
the pocket of suit or wrap. It is 
sufficiently large in circumference 
to permit of good expanse of 
powder- and has a generous mirror 
in the top. The compact itself is 
covered with a satin-backed puff. 

Examine this new compact at the 
same store where you buy your 
Pompeian Beauty Powder — you 
will find it as de luxe as a model 
from an exclusive jeweler's. Be 
sure to get your correct shade of 
powder according to directions 
given on this page. Pompeian 
Beauty Powder Compact, $1.00. 



Specialiste en Beaulc 



MADAME JEANNETTE, 
Pompeian Laboratories, 
Dept.61 1, Cleveland, Ohio 

Dear Madame: Not being entirely certain 
which shade of Pompeian Beauty Powder is 
best suited to my skin tone, I wish to test the 
two shades checked below. 

Name 



Address • 
City 



•State. 



PI. ast check the two shades desired for test 
□ Naturelle □ Rachel □ Flesh □ White 




I am getting a 
big kick out of my 
daily appearance 
at the studios, 
where I take part 
in a little skit 
called "Cast Full." 

These movie 
people are a great 
bunch of boosters, 
and I find them 
always ready to 
give a fellow a lift. 
Your loving son, 
WILFORD. 




Hollywood 
Writes Home 

Old fol\s get reports 

of progress from rising stars 

on movie frontier ! 

By H. IV. Haenigsen 




JJear Parents: 

Lack of money made it hard going at first, 
but things are breaking for me now. 

I managed to raise a check for $5,000, 
which accounts for my being where I am today. 

My present work is very confining but my 
forthcoming release will bring much needed 
rest and freedom. 



Dear Maw & Paw: 

By constant 
plugging I have 
made connections 
with the biggest 
people in the movie 
game. 

Every director in 
town has asked 
for my services. 
In this short 
time I have be- 
come one of the 
central figures in 
Hollywood. 
Love, 

BEBE. 



Your loving son, JOHN 




Dear Folks 

You will be inter- 
ested in knowing that 
I have ceased to think 
of acting and have 
taken up directing in 
a serious way. 

It's interesting work 
and certainly makes a 
fellow dig to get along. 
Lovingly, 
LIONEL. 



78 



"Who is she?" 

asks the stag line 





» * \ 



Learn now the simple secret of her charm ; 

THEN— attain it in this way 

We study her, this girl who seems to make wallflowers of us all. 
Is she clever? Is she brilliant? We feign indifference to hide 
the envy we feel. Yet — to be in her place if only for an hour! 




WHEREVER we go, there is always 
such a girl. She is no prettier, no 
wittier than hundreds of others that 
we've known. But hers the simple wis- 
dom of attaining, then keeping that 
schoolgirl complexion — the charm that 
never fails. 

The means are simple, as millions 
will tell you, just soap and water; the 
balmy lather of palm and olive oils as 
scientifically saponified in Palmolive. 

Do this just to see what a 
single week will do 

Use powder and rouge if you wish. 
But never leave them on over night. If you 
do, they clog the pores, often enlarge 
them. Blackheads and disfigurements 
often follow. They must be washed away. 

Wash your face gently with soothing 
Palmolive. Then massage it softly into 
the skin. Rinse thoroughly. Then repeal 
both the washing and rinsing. If your 
skin is inclined to dryness, apply just a 
touch of good cold cream — that is all. 



Do this regularly, and particularly 
before retiring. Watch the results. 

The world's most simple 
beauty treatment 

Thus in a simple manner, millions 
since the days of Cleopatra have found 
beauty and charm. 

No medicaments are necessary. Just 
remove the day's accumulations of dirt, 
oil and perspiration, cleanse the pores, 
and Nature will be kind to you. Your 
skin will be of fine texture. Your color 
will be good. Wrinkles will not be the 
problem as the years advance. 

Avoid this mistake 

Do not use ordinary soaps in the treat- 
ment given above. Do not think any 
green soap, or represented as of palm 
and olive oils, is the same as Palmolive. 
The Palmolive habit will keep that 
schoolgirl complexion. 

And it costs but 10c the cake! So little 
that millions let it do for their bodies 
what it does for their faces. Obtain a 
cake today. Note the diffetence just one 
week makes. 



The Palmolive Company (Del. Corp.), 360 North Michigan Avenue, Chicago 



Note carefully the name and 
wrapper. Palmolive Soap 
is never sold unwrapped. 



Palm and olive 
oils— nothing else 
— give nature's 
green color to 
Palmolive Soap. 



Volume and 

efficiency produce 

25c quality 

for only 



10 











~*s-sga* 



«Q 



<i «^n 



■oat 



iluIilllUl 



T/re correct brush 






Look at this Pro-phy-lac-tic Tooth Brush. First, notice the hole 
in the handle. A hook is furnished with every Pro-phy-lac-tic, to 
hang the brush upon. Second, each brush is marked with a sym- 
bol, so that you always know your own individual Pro-phy-lac-tic. 
Third, the handle is curved, and the end tapered and beveled, so 
that it will reach behind all teeth. Fourth, each brush is marked 
hard, medium, or soft, so you can always get the kind of bristles 
you want. Fifth, bristle tufts are arranged to fit the curve of the 
jaw— the Pro-phy-lac-tic shape. Sixth, the large end tuft reaches 
and cleans the backs of the back teeth and the inner surfaces of 
all teeth. Seventh, remember 



the famous yellow box 




TXtWUSTVtS m THt TEETH M»0 CVEK.N 

"K GLEAM TOOTH NEVER, DiCMS" 



THE WORLD'S STANDARD TOOTHBRUSH. PRESERVES THE TEETH. 



. unwed wm ore. of these. ©omrroiGl 

l\\<J *ZA £ H\7 Cii S-fVABO-S TOW BRUSH W)H6 ON US HOOK 
RtG \N US PAT. OF P. QMS QUVOMX MK) NWK6WS RS CUM FAACE. 



m. 



THE VONGTUFT OEUtSTHE BACK TEETH 
MtD MHER SURFACES OF AU.THE USTU. 

"A CV-^U TOOTH NEVER OECMS' 



These features were originated by the Pro-phy-lac-tic Tooth Brush, 
Made in America by Americans, You can now buy a Pro-phy-lac-tic 
Tooth Brush in any civilized community in the world. You should 
use a Pro-phy-lac-tic. It saves your teeth by really cleaning, and not 
merely brushing them. Florence Mfg. Co., Florence, Mass., U. S. A. 

Prices in the United States are : Pro-phy-lac-tic Adult 50c; 
Prophy-lac-tic Small 40c; Pro-phy-lac-tic Baby 25c. 



The name- world known 



pro- pfui- Coc -tic 

H Reg. u. s. pat. orr. 91 WU 



<Taotfi Bruafi 



© 1924, F. M. Co. 



QUESTIONS 6s? ANSWERS 



Read This Before 
Asking Questions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long ans- 
wers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address; only initials will be 
published if requested. 




Casts and Addresses 

urn take up much 
md arc not always of in- 
terest to Others than the in- 
quirer, we have found it 

- treat such subject- in a 
diffi rent way than other ques- 
tions. For tliis kind of informa- 
tion, a stamped, addressed 
envelope must be Bent. As a 
further aid, a complete list of 
studio addresai - is printed i Ise- 

wln re in this Magazine every 

month. Address all inquiries 

to Questions and A: 

Photoplay Magazine, 221 W. 

57th St., New York City. 



Florence, Los Angeles. — In other words, 
you don't care much for Monte Blue, do you? 
You just think he's the best actor on the stage 
or screen; that he has wonderful eyes, so frank 
and honest; that no one can make love like he 
can and that all a picture needs to make it a 
success is his presence therein. Well, Florence, 
you're a fan worth having! His next picture 
will be "Deburau." He has just completed 
"How to Educate a Wife." 

Cherie of Sunny France. — Can any 
woman who sees Ramon Novarro but once help 
to fall in love with him forever? Well, now, 
Cherie, you wouldn't want to break up all the 
happy homes in Christendom just to add up 
conquests for your favorite, would you? I am 
very sure if you wrote him such a fervent letter 
as you wrote me, that he would send you a 
picture. He has recently completed "The 
Arab" under Rex Ingram's direction, but be- 
cause of the director's illness, is now working 
under Fred Niblo in "The Red Lily." 

"Connie Talmadge Fan," Sunderland, 
England. — Glad you like us, Britannia. And 
we accept without comment your guess that we 
are a topping young editor — not the old man 
that most of our correspondents think us. 
Well, after all, a hundred years isn't long to 
have lived if your heart's young. Constance 
Talmadge is twenty-four years old and has 
blonde hair and brown eyes; Antonio Moreno 
is thirty-six. 

Peggy W., Flint, Mich. — A "movie fiend," 
you say? That's the way to do things, Peggy, 
with enthusiasm ! Corinne Griffith was married 
a few months ago to Walter Morosco, son of 
the theatrical producer. And I'm afraid she 
meant it when she said she intended to retire 
from the screen after a few more pictures. 
Milton Sills' wife is still living and his daughter 
is thirteen years old. I am sure he's quite as 
"nice and sensible" in real life as he seems on 
the screen. 

Chi Lambda Zeta, West Chester, Pa. — 
The picture you refer to was "Saturday 
Night." Don't you remember the bathing 
scene? Conrad Nagel and Leatrice Joy played 
leading roles. 

POLLYANNA, WlLKESBARRE, Pa. — When 

some pictures come along, we wish that were 
our name ! So you're the girl that likes Ramon 
Novarro! And, liking him, you're interested 
to know all about him. Well, he's five feet ten 
inches in height, Mexican by birth, and he has 
dark brown hair and eyes, as you probably 
know, since you've seen "every single picture 
he's ever, ever played in." His next picture 
will be "The Red Lily." George Hackathorne 
is twenty-eight and American. Ivor Novello is 
an Englishman and twenty-nine years old. 
Mae Marsh and Ivor Novello played in "The 
White Rose." 



"Blondie," Fort Wayne, Ind. — I'd tell a 
blonde anything — whether she was anxious or 
not! But it pains me to relate that Lloyd 
Hughes is married to pretty Gloria Hope. He 
is twenty-seven and Richard Dix is twenty- 
nine. 

Eva, El Monte, Calif. — Do I not think 
Renee Adoree adorable? Her height is five 
feet, two inches, her weight one hundred and 
five pounds. Her eyes are gray, her hair 
black. Conway Tearle's height is five feet, 
eleven inches. His hair and eyes are dark, 
matching each other in color, an unusual com- 
bination. 

B. F. M., Oklahoma. — My humble thanks, 
Belle dear. Your vote for the handsomest man 
on the screen would be Jack Gilbert. He was 
born in Logan, Utah, in 1805. He attended the 
Hitchcock Military Academy, San Rafael, 
Calif. Coming of a stage family, he had con- 
siderable stage experience before going into 
pictures. Before becoming a Fox star he was 
an actor and director for Tourneur. His height 
is five feet, eleven inches. His weight the scales 
record at one hundred and forty-five pounds. 
As to hair and eyes — brown. 

A. L., Englewood, N. J.— Tut! Tut! You 
confess to a keen interest in Frank Mayo and 
Johnny Harron. Johnny Harron was born in 
New York twenty years ago. He has brown 
hair and dark blue eyes. His weight is one 
hundred and sixty pounds. He is not married. 
Frank Mayo was born in the same city, June 
28, 1886. His height is five feet, eleven inches, 
his weight one hundred and sixty-five pounds. 

Myra of Chicago, III. — I wish there were 
someone to plead for me as you do. Would 
that I were among those you "like so much"! 
Gladys Brockwell's birthplace was Brooklyn, 
her birthdate Sept. 26, 1804. Her parents 
were professional players. She began her stage 
career when a child. Luke Cosgrave was born 
in County Mayo, Ireland. He came to America 
while a child and lived in Zanesville, Ohio. He 
was on the stage several years before appearing 
in pictures. 

A. F. B., Yakima, Wash. — Pleased am I that 
Photoplay has inspired a family in the north- 
west corner of what you patriotically call 
"These good United States." Particularly a 
family that lives twenty miles from a town. 
Your two little daughters, Bertha and Laura, 
whose pictures you send me, are equal, 
featurally, to most of our stars. If they want 
to be actresses at three and five you will have 
to tie them to keep them off the screen in 
fifteen years. 

Pearl, Sweet Springs, Mo. — I trust you 
and your town are as charming as the names 
you give. Thomas Meighan's surname is 
pronounced as though spelled. "Me-an." 
Was that your stand in the "twenty disputes 
about it"? I hope so, I like to see a nice girl 
win. 



W. M., Haledon, N. J.— Delighted to add 
to your fund of information, Walter. Richard 
Talmadge is not a relative of Norma's. So he 
is not a kinsman of either Constance or Natalie. 
Norma Talmadge's age is twenty-eight. 
Billie Burke's plans for her return to the stage 
have not yet materialized. Her home is at 
Hastings-on-the-Hudson. Colleen Moore is 
neither kith nor kin to the brothers, Tom, 
Owen and Matt of that name. 

J. Z., Brooklyn, N. Y. — Your interest is 
limited to one actor. How rare! I am glad to 
encourage constancy in your sex. Conrad 
Nagel's advent into this world occurred 
March 16, 1896. His height is six feet, his 
weight one hundred and sixty-five pounds. 
Blond hair and blue eyes. What is the month 
of weddings? Right. He was married in 
June. He married Ruth Helm, a non-profes- 
sional. 

V. D., Lima, Ohio. — A new name for me. 
I'm an "astronomer " Quite apt, for I do a 
lot of star-gazing. Stars usually acknowledge 
letters from their admirers. 

E. G., Woodbine, Ohio. — Fred Stone, who 
played in "The Wizard of Oz," and is the 
father of the lovely Dorothy, who at seventeen 
has joined his company in musical comedy, 
once made an excursion into movie-land. He 
figures largely in "The Duke of Chimney 
Butte," "Billy Jim" and "The Goat." 

Nat, Brooklyn, N. Y. — Tell me something, 
Nat. I suspect that the reason you girls are so 
keen to know the height and weight of your 
favorite actresses is that you want to compare 
them with your own. Am I right? Mae 
Murray, five feet, three inches; Marion Davis, 
five feet, four and one-half inches. 

Walter, Akron, Ohio. — AY rite Miss Dana 
again, thank her for the photograph, and en- 
close the delinquent quarter. She was born 
June 28, 1898. 

Earnest Boy, Wichita Falls, Kan. — 
Colleen Moore, though lovely, is human. It 
is human to enjoy praise. Write her what you 
think of her art and beauty. 

M. F. M., Lackawana, N. J. — Charles 
Jones and Buck Jones are the same person. 
I hope you win the bet, Maggie. The age of 
the two-named young man is thirty-four. 
Norma Talmadge's age is twenty-eight, Anita 
Stewart's twenty-six, Lillian Gish's twenty- 
seven and her sister, Dorothy Gish's twentv- 
five. Mae Murray's is thirty-seven. 

L. A. G., Pittsburgh, Pa— Being in a good 
humor today, I will be generous. It pleases 
me to tell you that Ben Lyon is not married. 
But give him time. He is only twenty-one. 
It is customary to enclose twenty-five cents to 
cover the expense of the photograph and post- 
age. Wouldn't it be worth that to be gazed at 
by Ben all day? [ continued on page 1 1 2 1 

$1 



82 



Photoplay Magazine — Advertising Section 




Dh 



ose 



COLLEEN MOORE says. 



I learned about it several years 
ago, this idea of combating film 
on teeth. Results are really 
astonishing. The public is sur- 
prisingly critical of teeth and I 

am very carefui to keep mine in good condition. 'On the advice 
of my dentist I use Pepsodent exclusively — I've never found 
any old-fashioned method, or morning and night brushing, 
with nearly the same effect. To any girl who seeks gleaming, 
whiter teeth, I say "Pepsodent" — one never knows what pretty 
teeth she has until she attacks the film. 



$100,000 a year 



How motion pictures' famous stars gain the gleam- 
ing, pearly teeth that make smiles worth fortunes 
—how you can clear your own teeth in the same 
way. A simple test that reveals the most amazing 
of tooth methods— a new method urged by 
leading dental authorities of the world. 




j)W_ 




TOM MIX says: 

White teeth ? — in my profes- 
sion they must be so. Nothing 
can spoil a film smile like un- 
attractive teeth. Using Pepso- 
dent before "going on," as well 
as several other times during 
the day, is an important part 
of my make-up. Gloria Swan- 
son first told me about it. I 
know of no other method that 
has so remarkable an effect. 



Dull teeth made bright and gleaming — cloudy, dis- 
colored teeth given new luster ! These famous stars 
of the moving picture world now tell us how they 
gain them. You, too, can have them if you wish. 

Smiles in the cinema world sell for thousands — 
that is, some smiles. Gleaming teeth are essential. 
Otherwise a smile can have no value. So these peo- 
ple follow the method here explained not only for 
the satisfaction and beauty they gain, but as a 
matter of cold business. 

The amazing effect of combating the film which 
forms on teeth. Dull teeth, dingy, discolored. 
How they are made whiter, more appealing. 

THERE is a film on your teeth, a film that 
becomes discolored, that hides their natural 
luster. Under it is the tooth gleam and sheen 
that you envy in others. Run your tongue across 
your teeth and you can feel this film. 

It is the principal cause of dull and dingy teeth. 
The principal cause, too, of most tooth troubles. 
No ordinary tooth paste can successfully combat it. 

No excuse today for dingy teeth 

Film is a viscous coat that clings to teeth. It 
gets into crevices and stays. It clouds teeth; it 
keeps people from showing the natural luster 
that is there. 

It also holds food substance which ferments 
and causes acid. And in contact with teeth, this 
acid invites decay. Millions of germs breed and 
multiply in it. They, with tartar, are the chief 
cause of pyorrhea. 



BEBE DANIELS says: 

It's a strange thing, but of the thousands of letters 
I receive from "fans" a great majority speak of my 
teeth. Many ask me what I do to keep them so bril- 
liant. Yet, as a matter of fact, not so very long ago 
my director hesitatingly told me my teeth did not seem 
as white as they might be. Then Agnes Ayres told me 
about Pepsodent, which a famous dental surgeon in 
the East had advised her to use — and she, as you know, 
is noted for her wonderful teeth. In less than 10 days 
I had the glistening teeth people ask me about today. 



<^/^L<^^ 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 

RAMON NOVARRO says: 

I never go on a set without first looking to ray 
teeth. I've done this for years, or rather since I 
discovered Pepsodent. It removes that cloudy film, 
which, before strong lights and a camera shows up 
so unkindly. A noted dentist told me about this 
method and I've never stopped thanking him — It 
makes a very great difference. I make it a practice 
to use Pepsodent four or five times daily and think 
most of the people before the camera do the same. 



83 



10-day test FREE 
Mail the coupon 




czmon^ whv&Ako 



smiles in the 
<t!Movies 



Combat that film and your teeth gleam. Your 
mirror tells a story that seems almost incredible. 
Having dingy teeth today simply rests with the 
individual. On every side you see wonderful, 
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For years men of science have given their best 
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Pictures? 



Oh, Pshaw! 
said O. SHAW 



But Oscar has been cow 
verted and, being a good 
actor, a lover of stunts 
and an athlete, is making 
good on the screen as he 
did on the stage 



By Sally Benson 



Oscar Shaw, featuring his famous grin, and, at right, 
with Anita Stewart in " The Great White Way" 



DOES he dance and does he sing? Does he 
do a little bit of everything? Does he? 
I'll say he does. 

He does the dancing and singing in 
" One Kiss," although if it were not that it would 
be in something else, and he does the little bit of 
everything in Cosmopolitan's picture, "The 
Great White Way." 

Perhaps you noticed him as the new face in 
that production. He never worked in a picture 
before, and he always said he never would. He 
wouldn't even go to look at a motion picture. Not 
this boy. The stage for him. But he's been 
converted. And, judging from his success in his 
first picture, he's going to be in demand hereafter. 

His name is Oscar Shaw, he was born in Philadelphia, and 
that's that. 

After all, not many an ambitious boy, no matter how good a 
tenor he may be, can take a leading part in one of the best 
pictures of the year without arousing a few, " Well, for goodness 
sakes!" Of course the real explanation is, he's a baritone. 

He wore a dressing gown when I saw him. It was one of the 
kind that looks as though it were made of old, tired, bath 
towels. He had a skull cap, usually worn by small boys when 
they are training their hair to lie flat, and a pair of old golf 
shoes. Almost anyone can tell you what an old golf shoe looks 
like. Nothing else ever gets to look that old. 

He didn't begin telling me, I had to ask him. 

"I suppose, Mr. Shaw, that you left college, without your 
parents' consent, and went on the stage?" 

He looked puzzled. 

"Well, not exactly that," he said. "It was more like this. 

8<, 




I quit school when I was seventeen, and peddled soap." 

"What kind of soap?" 

"Just laundry soap. One ordinary cake that we could buy 
at the grocery made three cakes of our soap. We put ours in 
fancy wrappers." 

"How did you learn your screen technique?" 

"I don't know how you could explain that. Except maybe 
the time I worked in that barrel factory in Cincinnati might 
have helped me." 

"What I mean to say is, Mr. Shaw, where did you learn to 
display those emotions? You do display them, you know." 

"Once a friend of mine and I took care of a carload of horses 
on the way to Columbus, Ohio. You can learn a lot that way. 
We were fired when we got there. The time I worked in that 
all-night restaurant in Denver must have helped too." 

" But your insight into the character you played; how do you 
account for being able to know that?" i continued on page 120I 



Photoplay Magazine — Advertising Section 



85 








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Where the Screen 
Stars Train 

Members of the profession form 
large percentage of membership 
of the Hollywood Athletic Club 

IT must be apparent to all who see on the screen the 
stunts that picture actors are called upon to do that 
considerable athletic training is necessary to most of 
them. So they have a place of their own in Hollywood 
now in which to keep themselves in condition. This is the 
Hollywood Athletic Club, located in the heart of Holly- 
wood, and comprising in its membership almost every 
actor and director of note in the picture world. Quite a 
number of the present members of the Hollywood club 
were formerly in the Los Angeles Athletic Club, but there 
seemed to be something about the new organization that 
attracted the members of the acting profession. 




The bea utiful building of the Holly- 
wood Athletic Club is one of the 
best appointed on the Pacific Coast. 
It is an imposing structure and 
contains every accessory for social 
as well as athletic affairs. It has 
spacious banquet rooms, a fine 
gymnasium, an enormous swim- 
ming pool, private dining rooms 
and fifty-jive bedrooms 



One of the favorite hang-outs in the club is the 
billiard room, which has both billiard and pool 
tables. At the time this photograph was taken 
William S. Hart and Tony Moreno were play- 
ing at the table in the foreground 



Here is the card room, with its ivalls and 
carpet* of restful shade and its deep, comfort- 
able armchairs. The participants in the en- 
grossing game going on are — from left to right 
— Wallace MacDonald, Emory Johnson, 
Malcolm MacGrcgor and Sidney Chaplin 




80 



Photoplay Magazine — Advertising Section 





If you asked a friend for a letter 
of introduction and she handed it 
to you sealed, you would put lier 
down as either deliberately rude 
or inexcusably ill-bred. Such a let- 
ter, of course, is never sealed by the 
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recipient, in thewriter'spresence. 

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same of you? 

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The selection of stationery is 
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stationery is sold you will find 
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everywhere for their quality, 
smartness and authoritative style, 
and Eaton's Highland Linen, less 
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in shapes, sizes and colorings. 

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88 




Photoplay Magazine — Advertising Section 

The Shadow Stage 

[ CONTINUED FROM PAGE >I ] 



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THE WHITE SHADOW— Selznick 

YWTJNDERFUL story dealing with twin 
W sisters. Betty Compson plays both 
sisters, giving an opportunity for clever photog- 
raphy. One sister is of willful type while 
other is normal English girl. Latter finally 
dies, and as she passes away her soul — the 
white shadow — passes into her sister, trans- 
forming her to normalcy. Puzzling situations 
arise, especially in reference to sweetheart who 
is unable to tell girls apart. The story is 
worthy of better handling. Miss Compson 
does good work but better directing would 
have made the picture one of the best of the 
year. As it is, it intrigues from the start and 
carries the interest almost to the end where it is 
unnecessarily carried on to thwart a scheming 
lawyer. It was filmed in England. 

HIGH SPEED- Universal 

TTERBERT RAWLINSON, whose popular- 
- 1 -*-ity never fails him, in another conventional 
role, that of the athlete who loves the bank 
president's daughter. Rawlinson is always 
debonair and likeable, and Carmelita Geraghty 
makes a heroine worth fighting for. There's a 
fight thrown into the proceedings for good 
measure, so there is one Dortion of an audience 
which will be pleased. 

BETWEEN FRIENDS— Vitagraph 

A REMADE version of an old Robert 
-'^-Chambers triangle story once done with 
Alice Joyce in the lead. The best friend wins 
away the wife, who commits suicide. The 
husband fails to discover the tmth and the old 
friendship continues. A sordid tale told in 
pretty ordinary fashion. Anna Q. Nilsson and 
Norman Kerry are the best of the cast, with 
Lou Tellegen overacting his part. Stuart 
Blackton's direction is but fair. 

MISSING DAUGHTERS— Selznick 

HTHRILLER dealing with white slave traffic. 
■*■ Based on the old style melodramas where 
they first give you a tear and then a laugh. 
Cabarets, bathing beaches and airplanes fur- 
nish the thrills. Four pretty girls, Eva Novak, 
Eileen Percy, Pauline Starke and Claire Adams, 
form an unusual cast in commendable manner. 
Rockcliffe Fellowes plays the hero in his usual 
commendable way. The rest of the cast is 
good. 

WHEN A GIRL LOVES— Associated 
Exhibitors 

ALL the way from Russia to Long Island — 
but then love is love the world over. In 
spite of some improbabilities, this is entertain- 
ing, but la grandc passion is never dull. Agnes 
Ayres, Percy Marmont, Robert McKim, Kath- 
leen Williams and Mary Alden are among those 
who conspire to see that romance comes to its 
logical climax, the final close-up. 

PAL O' MINE—C. B. C. 

A HUMAN story about a wife who feels the 
■**-urge to take up her career and does it. She 
prefers singing across the footlights to hum- 
ming over the kitchen sink. Hubby's dis- 
content is rampant, and when wifie realizes 
that she is about to lose him, she decides that 
lullabies are preferable to operatic arias after 
all. There is a pleasing blend of human interest 
and comedy. Irene Rich, Pauline Garon, 
Willard Louis and Joseph Swickard head the 
cast. 

WANDERING HUSBANDS— Hodkinson 

YOU will be surprised at Lila Lee. She has 
become beautiful and willowy — yes, the 
same chubby girl of the old days has suddenly 



developed into one of our best leading women, 
and a delightful actress too. She plays a young 
wife whose husband falls for the assiduous 
attentions of a jazzy will o' the wisp. Many of 
the situations are mawkish and oversenti- 
mental, but Lila makes it all possible by her 
sincerity and poise, though James Kirkwood 
leaves much to be desired. 

RACING LUCK— Associated Exhibitors 

■\4"ONTY BANKS appears as a winner in one 
■*-Yl f the funniest pictures we have ever 
beheld. Pardon our enthusiasm, if we call it a 
riot ! It is guaranteed to put a confirmed cynic 
in good humor. Banks is a born comedian and 
this sympathetic and hilarious tale suits him to 
a "T." 

WHAT THREE MEN WANTED— Apollo 

ANOTHER title supposed to get your 
■* »-money. Here we have a mystery story 
with Miss Dupont who, as a young lady with a 
rich uncle, is confronted with three impostors, 
one of whom turns out to be "the man in her 
life." It may put you to sleep, but at any rate 
it will make no demands on your intelligence. 
It certainly does not on the actors nor on any 
one else connected with the picture. 

DON'T DOUBT YOUR HUSBAND— 
Metro 

JEALOUSY threatens for the requisite num- 
ber of reels to break up a happy home — 
nothing new, but Viola Dana is the wife and 
Alan Forest the husband — a good combination. 
Viola has made marked strides as a comedienne 
and she carries the comedy situations to a suc- 
cessful conclusion. 

VENUS OF THE SOUTH SEAS— 
Lee Bradford 

A NNETTE KELLERMANN, the girl that 
-*»-made the one-piece bathing suit famous, 
comes back to her old time form. She is won- 
derful in the water, but when she attempts the 
emotional scenes devised by an ambitious 
scenario writer — well, you know what Sherman 
said about war. However, this romance of the 
South Seas gives her an opportunity to per- 
form numerous aquatic feats, which she does 
with her accustomed grace and skill. 

THE SWORD OF VALOR— Capitol 

ANOTHER one of those interfering fathers 
who prolong our tamest film romances. 
The story purports to be laid in sunny Spain, 
where the requisite fights, lovers' sighs, and 
fitting suspense have a picturesque back- 
ground. It argues once more that clean, young 
American manhood can accomplish anything 
in any clime. 

AFTER A MILLION— Aywon 

RUSSIA is responsible for this story of a 
cossack's trick will. It is all rather in- 
tricate and amazing, and scarcely worth a 
reserved seat. Kenneth McDonald is the star 
of a series of unimportant happenings and he 
pilots the love motif to its satisfactory climax. 
Ruth Dwyer is the object of his celluloid affec- 
tions, and if you can follow the ramifications of 
their romance you are smarter than we are. 

THE GOOD BAD BOY— Principal 

THE story of the worst boy in the village 
who is good at heart done once more, this 
time with the Boy Scouts to bring it up to 
date. A production mainly for children, the 
principals are youngsters, and the theme is 
aimed at the juvenile portion of the audience. 
The big moment, and dramatic, too, comes 
when the scouts congregate to right a wrong. 
The children are amusing at all times. 



Every advertisement in rriOTOPI.AT MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



IN FAST COMPANY— Truart 

THIS is all very well for the devotees of 
Richard Talmadge. If you are one of them 
you will probably not balk at the incongruities, 
and may even go so far as to find the situations 
comic. They are supposed to be. Some good 
moments for prize fight fans, otherwise — quick. 
Sister Ann, the smelling salts! 

NAPOLEON AND JOSEPHINE— F.B.O. 

COULD there be a more dramatic subject? 
This tells of the lives of these great his- 
torical characters from the time of Josephine's 
meeting with the Emperor to his final defeat at 
Waterloo and his subsequent exile. There are 
battle scenes and picturesque backgrounds 
effectively presented. Made by a European 
producer. The picture lacks vitality despite 
its thrilling subject. 

SPIRIT OF THE U. S. A.—F. B. O. 

KEEP away from this and discourage use of 
the flag to get your nickels. It puts undue 
demands on your patriotism as well as your 
time with the flag and mother wo/// all dressed 
up anew for Madame Box Office. This would 
make even George Cohan blush. The photog- 
raphy is of ante-bellum vintage and Mary 
Carr struggles valiantly to do right by our 
national spirit. 

THE DANGEROUS COWARD— F. B. O. 

'"THE pugilist hero, believing he has maimed 
*■ a man, flees to a ranch where he becomes a 
cowboy. There, through his refusal to fight, he 
is dubbed "yellow." Naturally, he proves 
himself finally and gets the girl. Fred Thom- 
son is the cowboy from the squared circle. The 
cast is mediocre. Poor entertainment all 
around. Nothing to recommend it unless it is 
Thomson's horse, Silver King. 

BROADWAY OR BUST— Universal 

A HOOT GIBSON vehicle, below that West- 
■* *-ern star's average. This story had comic 
qualities overlooked by both the director and 
scenario writer. The millionaire cowboy hero 
drives his pony to New York and puts up at a 
big hotel, with his horse in the adjoining room. 
And, of course, he saves the heroine from a 
wicked count. Melodramatic stuff with 
society glimpses palpably far from the real 
thing. 

WESTERN LUCK— Fox 

T IYES up to its name in exciting fashion 
■'-'without a thrill left out. Story revolves 
about a baby left in a burning shack by dis- 
tracted father in anxiety to get his wife to 
hospital. Baby is rescued by rancher and 
grows up to save foster father's property from 
scheming real estate man and other son of real 
father. Usual happy ending. Charles Jones, 
as the abandoned son, does some fine and fancy 
Western hero stuff in approved style. Rest of 
cast good. 

SON OF THE SAHARA— First National 

•"THOSE who like "The Sheik" will like "A 
■^ Son of the Sahara." Bert Lytell, as the 
Sheik, and Claire Windsor do the best work of 
their careers. The picture intrigues the im- 
agination, haunts the brain and thrills the love- 
sick. It's just that kind of a picture. It is 
filled with dusky Arabs, exotic girls and lum- 
bering camels, and is representative of the 
simon pure African life of fact and fiction. 
Claire Windsor is the daughter of an English 
captain. She is made captive and taken to the 
Sheik's harem. Of course she falls in love with 
the Sheik and, of course, the Sheik turns out to 
be a white man, so nobody's feelings are hurt, 
least of all the Sheik's. Rosemary Theby, 
Montagu Love and Walter McGrail are en- 
titled to praise for their acting. 

(The position of this review is no indication 
of the merit of this picture. The review was 
written just as the magazine was going 
to press.) 



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9° 



Phoioi'LAY Magazine — Advertising Section 




TRUTH 

ABOUT THE 




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The only bones of contention in the John Gilbert household. Jack maintains 

the claims of his wire-haired terrier to superiority, while his wife, Leatrice Joy, 

insists that her Sealyham alone is entitled to the blue ribbon. But in spite of 

this ground for difference, evidently the four make a very happy family 



Studio News and Gossip 

[ CONTINUED FROM PAGE 5 7 ] 



a story written by Loeb and submitted to 
Chaplin. 

Loeb's suit, filed in the United States Dis- 
trict Court of New York, asks $50,000 damages 
and an accounting of the profits of "Shoulder 
Arms." According to his complaint, he wrote 
in 1918 a story called "The Rookie." He 
alleges that he submitted this story to Chaplin 
and that it was returned by Melville Brown, 
with the explanation that Chaplin would 
produce nothing that ridiculed the American 
army. 

Later on, however, Loeb claims that he 
recognized much of his story in "Shoulder 
Arms." 

Chaplin's defense is that a motion-picture 
star and director who never uses a scenario 
can't steal one. He and his brother, Sidney, 
and his leading woman, Edna Purviance, and 
others who worked on the story state that it 
was unfolded day by day as they worked, and 
that Chaplin was inspired overnight with the 
things they did the next day. 

"I never use a scenario," says Chaplin. "I 
am inspired overnight and the next morning I 
put that idea into the picture. I never saw 
Loeb's scenario." 

Chaplin isn't the only person who works 
without a scenario. Harold Lloyd never uses 
one, and on occasion Mickey Neilan has worked 
minus a script. 



'""THE Playhouse, the new Los Angeles theater, 

-*- is to recapture two famous motion picture 

stars for brief returns to the speaking drama. 

Pauline Frederick, who has just completed 
what is said to be the greatest work of her 
screen career in a picture with Ernst Lubitsch, 
will open there shortly in the leading role of 
"Spring Cleaning," a comedy still playing in 
New York with Violet Heming in the same 
role. 

It is the first time Miss Frederick has ever 
done a special starring engagement in Los 
Angeles, and the advance sale has been a great 
indication of Polly's enormous popularity here. 

Following Miss Frederick, Nazimova is to 
star in one of her old-time favorites, and also to 
present a new play. The old play has not been 
selected, but Madame is considering "A Doll's 
House," "Bella Donna" and "Hedda Gabler." 

PLINOR GLYN, who wrote "Three Weeks," 
""Six Days," and many other successful 

novels, has incorporated herself. The famous 

authoress is now Elinor Glyn, Ltd., with offices 

at 19 Berkeley Street, London. 

Mme. Glyn declares she was forced to take 

this step to free herself from business cares. 
The officers of the corporation include Sir 

Rhys Williams, Bart., K. C, D. S. O.; Col. 

Geoffrey Glyn, C, D. S. O., director; Captain 

Wilfred Gough, late of the Welsh Guards 



Every advertisement in rnOTOrT.AY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



9 1 



secretary in America. Geoffrey Glyn is a 
cousin of the authoress and Sir Rhys is Mme. 
Glyn's son-in-law. 

Sir Rhys and Lady Williams, also Captain 
Gough, are now with Mme. Glyn at the Metro- 
Goldwyn-Mayer studios, where they are 
screening "His Hour," with Aileen Pringle in 
the lead. 

FATTY ARBUCKLE, the rotund erstwhile 
film comedian, will return to vaudeville, 
from which pictures claimed him, and under 
the same management as before. He has just 
signed a year's contract with Alexander 
Pantages and opens his engagement in San 
Francisco. 

Fatty will appear in the same one-act mono- 
logue which he used when he broke into the 
theatrical business under Pantages in Seattle 
twenty-one years ago. It's an old act, but 
Pantages still believes it one of the best in the 
business. 

MRS. TOM MIX has just returned to 
Hollywood after a vacation trip to Europe. 
Tom Mix makes a very sad bachelor. He is 
known as the most devoted husband in Holly- 
wood, and he certainly didn't seem to take any 
pleasure in the fact that his wife was away. 

Mrs. Mix brought back a lot of very stunning 
new clothes, which Hollywood is waiting 
breathlessly to see. 

IUST now the Boulevard is pretty largely in- 
terested in the entries and possible results of 
the "Jack Dempsey Sweepstakes." 

Somebody in Hollywood is certainly going to 
marry the champ if he doesn't watch out. And 
right now it looks as though it would be Estelle 
Taylor. 

Jack has certainly come into his own in 
Hollywood. 

If he has had some bitter experiences in the 
past, and hasn't been as popular as his fighting 
ability and clean living should have made him, 
Hollywood is making it up to him. The film 
colony has made an idol of the big boy. The 
greatest of the men stars and directors take an 
afternoon off to spend them at Jack's training 
quarters on the Universal lot and watch him 
work, and the women vie with each other in 
trying to win his attentions. 

He takes pretty Carmelita Geraghty — the 
most fascinating of the 1924 baby stars — to 
openings, dines and dances with Esther Ralston 
and Helen Ferguson, rides with Clara Bow, the 
last word in screen flappers, in his big new 
Rolls-Royce, and visits on his set with Ruth 
Clifford and Julanne Johnston. 

But of late Estelle seems to be making a run- 
away race of it, and all Hollywood is cheering 
her on. Anybody who knows Estelle can 
readily understand Dempsey's devotion. There 
may be more beautiful girls in Hollywood, but 
I don't know where. More than that, Estelle 
has a gorgeous sense of humor, dances divinely 
and is an altogether regular fellow. Jack cer- 
tainly took the count when she left Hollywood 
to spend a month on location in Alaska with 
Tommie Meighan. 

XJEITHER Dempsey nor Miss Taylor will 
■^ deny an engagement. They admit they 
are very fond of each other, have known each 
other for years — before either of them was 
successful — and that anything might happen. 

Anyway, Hollywood, which has smiled with 
a good deal of amusement over the champion's 
sudden appearance in the role of a matinee 
idol, is hoping to see Estelle carry off the 
honors. 

But a few of the wise fight experts are won- 
dering if Dempsey's picture work and social 
populirity are likely to interfere with his 
training as a fighter. Jack has always been a 
consistent trainer, and has kept himself in 
wonderful condition, even when not in train- 
ing. Making pictures all day, and attending 
fashionable functions in the evening — even 
though they are proper as can be — must cut in 
on his time to keep in trim. 




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HOLLYWOOD has a new thrill. She is 
Jetta Goudal, the French actress, who has 
just arrived to play a featured part in Paul 
Bern's first picture as a Lasky director, "Open 
All Night." Jetta admits she is just "crazee" 
about the picture colon)' and wants to stay here 
"forevair." However, it isn't perfect, for she 
objected most strenuously to the hotel in which 
Bern so kindly planted her. Jetta was found 
less than an hour later waiting for some kind 
friend to move her. "This hotel is too much 
old lady," she vehemently protested. And 
perhaps she was right. Anyway she moved at 
once. 

MILDRED GLORIA LLOYD has arrived 
in Hollywood. And, believe me, she's the 
most important arrival that we could possibly 
have. 

Gloria — that's what they're going to call her 
— is the beautiful six-pound daughter of Mr. 
and Mrs. Harold Lloyd, and as such she belongs 
in the very first rank of filmdom's royalty. 
Her father, as a leading comedian of the 
screen, and her mother, as a screen star and 
beauty, are among Hollywood's most beloved 
citizens, to say nothing of the way they are 
regarded by the rest of the world. 

Gloria certainly started life with a royal 
trousseau. Never was there a baby with such 
adorable and dainty wardrobe received from 
Storkland. Mildred had arranged the loveliest 
nursery, and had filled it with everything 
beautiful that could be found. It is whispered 
that all the trimmings were pink and that an 
heir was hoped for. But the small heiress has 
rapidly made her mother and daddy forget 
about such trifles as that. 

Anyway, the tiny announcement cards were 
beautifully bordered in baby blue. 

Both mother and baby are doing extremely 
well. 

Now that this important event is safely over, 
Harold announces that Mildred will return to 
the screen under his banner. He will produce 
and supervise a series of pictures, starring her, 
and the first one will probably be "Alice in 
Wonderland." Little blonde Mildred looks 
exactly like the picture of Alice in my favorite 
copy, and Harold has been planning some 
gorgeous photography that will make all the 
magic of "Wonderland" come to life on the 
screen. Nobody in the motion picture business 
today knows as much about certain kinds of 
photographic effects as Harold, and he should 
make a classic of the already classic "Alice." 

Harold certainly is a proud father. And his 
devotion to his new daughter and her mother is 
lovely. 

After all, the nicest thing about Harold is 



that he is so exactly like all the other nice, 
normal, decent young Americans you know. 

A T last Theda Bara, one of the great film 
-**-stars and the woman who put the "vamp" 
on the screen, has selected the vehicle in which 
she will return to the films after several years 
absence. It is Zoe Akin's "Declasse," in 
which Ethel Barrymore played upon the stage 
for more than two years. 

"Declasse," one of the most widely dis- 
cussed plays of recent years, runs the gamut of 
emotions and offers a wealth of romance, love 
and tragedy for Miss Bara's talents. 

Among Miss Bara's greatest roles upon the 
screen were " Du Barry," " A Fool There Was," 
"Cleopatra" and "Salome." 

In writing this an old, old story of the early 
days of the screen comes to our mind. 

Some of the wiser heads of the organization 
which was to launch the young woman destined 
to be the first and greatest of "screen vamps" 
were casting about for a really striking name 
for their proposed star. 

After much discussion they are said to have 
seized upon the word "Arab" and spelled it 
backwards. And this is supposed to be the 
way Miss Bara got her name. 

Anyway spell Bara backwards and see what 
you get. 

FRED NIBLO, who through his recent con- 
tract to direct Norma Talmadge at $4,000 
per week became the highest' salaried director 
in the Hollywood colony, is the latest victim of 
a "death threat." 

. During the run of his latest picture, "Thy 
Name Is Woman," at a Los Angeles theater, an 
unsigned letter was left at the box office in 
which the great director was given just ten 
days to live. 

The author of the letter, evidently a crank or 
maniac, gave no reason why Niblo's life was 
forfeit, nor did he make good, for a great many 
more than ten days have passed and Niblo is 
still alive. 

For several days the director kept the death 
letter secret, not wishing to worry his wife, 
Enid Bennett, but when he did confide in an 
intimate friend, he was finally persuaded to 
turn the missive over to the district attorney's 
office. 

The letter was traced to a bell boy at a down- 
town hotel, who furnished a description of the 
man who had given it to him for delivery and 
the authorities are now seeking the author. 

There was no attempt at blackmail indi- 
cated in the letter, which seemed to be inspired 
by some fancied grievance against the picture 
industry in general, with Niblo picked as the 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



man whose death would atone for the fancied 
wrong. 

THE "Casiana," the world's largest yacht 
and known in almost every civilized port, 
has been loaned by its owner, E L. Dohcney, 
the oil magnate, to C. B. DeMille for scenes in 
his latest picture, "Feet of Clay." The 
"Casiana" is as large as many ocean liners and 
is one of the finest looking craft sailing the seas. 
Most of the exterior scenes for " Feet of Clay," 
in which Rod La Rocque, Vera Reynolds and 
Julia Faye are among the featured players, will 
be taken at Wrigley's wonderful pleasure re- 
sort, Catalina Island. 

A FTER a critical illness, during which his 
■**-life was despaired of at one time, Charles 
De Roche, who played Pharaoh in "The Ten 
Commandments," is out of danger and making 
a speedy recovery. De Roche was stricken 
while at work on a picture. He had just com- 
pleted a scene when he collapsed and was 
rushed by ambulance to his home, where 
physicians diagnosed his case as double pneu- 
monia. His collapse came as a surprise to the 
director and the entire company for not one 
word of complaint regarding his illness had the 
actor uttered. Rather than hold up the pro- 
duction, he had remained at his post when he 
should have been in bed. 

"\ TARRY a Movie Actress and Get Five 

•^Hundred Dollars." 

This is the slogan of the latest club to be 
formed among the younger screen actresses of 
the Hollywood colony. It is The Leap Year 
Club with a membership of Ann May, Madge 
Bellamy, Ruth Clifford, Marian Nixon and 
Alberta Vaughn. 

Each member of the new club has paid in one 
hundred dollars as an initiation fee, and the 
total of five hundred dollars now in the treas- 
ury will be used to purchase a wedding gift for 
the first of the live members to marry in 1924. 
If, fifteen days before Christmas, all remain 
single, the money is to be turned over to some 
charity. 

The first meeting was held at the home of 
Miss Nixon and Miss Bellamy was appointed 
treasurer. 

None of the members are engaged at the 
present time, all of them solemnly vouching for 
this fact and starting even. All are young, 
beautiful and determined. This is leap year and 
— well, five hundred dollars isn't to ke sneezed 
at. 

Perhaps Miss Clifford has a slight edge for 
one reason — she is the only blonde of the five. 
Ann May is the tiniest — only five feet and 
weighing less than one hundred pounds. 

"DETTY BLYTHE is back in Hollywood 

■'-'after nearly two years' absence, spent 
mostly abroad where she made several pictures, 
and the girl whose beauty of face and form 
caused such a stir in "The Queen of Sheba" 
has been signed by Samuel Goldwyn for 
"Potash and Perlmutter." She will wear a 
black wig and Hetty in her wig bears a striking 
resemblance to Barbara La Marr. 

T7I0LA DANA and Lefty Williams have 
v "made up." They have buried the hatchet 
and are again seen together constantly and now 
that Lefty is a free man there is considerable 
speculation as to whether the wedding bells 
may ring out. Their romance started while 
Viola was with Metro and Flynn with Fox. 
Then came the quarrel, and Viola found a new 
interest. When Miss Dana was signed for 
"Merton of the Movies" by Lasky, she and 
her former suitor were working on the same lot. 
It was hard to keep from meeting, and the next 
thing Hollywood knew it had something to talk 
about, for Viola and Lefty were seen together 
again at the Santa Monica Swimming Club, 
their old haunt, and things were just as friendly 



VWTIILE we know you've seldom heard of a 
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Photoplay Magazine — Advertising Section 




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Mr. Kerry seems to be one of oxir busiest young actors. Here he is as Kronski, 

the violinist hero of Kathleen Norris' "Butterfly," filmed by Universal. Mr. 

Kerry has contributed a remarkably wide variety of parts to the screen, not the 

least of which was his performance in " The Hunchback of Notre Dame" 



friend Ramon Novarro. However, the full name 
is now Ramon Novarro Samaniegos, for Ramon 
recently appeared in the superior court and was 
granted permission to make the legal change, 
adding Novarro to the name he was christened 
under. When Ramon first began his career, 
people around the studios found it almost im- 
possible to pronounce his last name, and you 
really can't blame them greatly. So he chose 
Novarro for a screen name. Not only easier to 
pronounce but much more romantic, don't you 
think? 

THE most exclusive sorority or club in the 
Hollywood colony has just initiated its 
third member, little Kathleen O'Malley. 

The reason there are but three members is no 
doubt due to the rigid requirements for nom- 
ination to membership. 

First, the girl must have red hair. 

Second, large blue eyes. 

Third, the family name must be O'Malley. 

Fourth, the Christian name must be Irish. 

The club is sponsored by Mr. and Mrs. Pat 
O'Malley. 

Meetings are held daily. Eileen is president, 
Sheila vice-president, Mary Kathleen secre- 
tary and, pending the arrival at the O'Malley 
home of Nora, Patricia or Shirley, Papa 
O'Malley is acting as treasurer, when not en- 
gaged in making pictures. 

A LOT of people have been busy again pick- 
ing the "geniuses" the screen has pro- 
duced. They seemed divided between Lillian 
Gish, Mabel Normand and ZaSu Pitts, for the 
women, and Charles Chaplin and Raymond 
Griffith for the men. 

We will be able to tell a lot more about ZaSu 
if Eric von Stroheim's "Greed" is ever re- 
leased. It is a great picture, and a great per- 
formance, so great that it justifies all that those 



who have seen it can possibly say of ZaSu. 
Her work is amazing in its tremendous dra- 
matic force, its delicacy and — oddly enough — 
its clinging appeal. ZaSu is not a beauty, but 
in "Greed" she can tie a lot of the vampires 
when it comes to the well known quality 
usually referred to as "sex appeal." 

But the picture is still hanging around the 
lot, and nobody seems to know quite what its 
fate will be. It has finally been cut to twenty- 
four reels, and they say you can't take another 
foot out of it. There has been some talk of 
releasing it — serially — in twenty-four reels. 
But this hardly seems practical. It is to be 
hoped that it will be put into shape and pre- 
sented to the public, if only that they may see 
this new ZaSu. 

It is definitely settled that von Stroheim is 
to direct the "Merry Widow" and that Mae 
Murray is to play it. That seems to be an 
intelligent and reasonable choice. Von 
Stroheim knows the locale and the atmosphere 
of the "Merry Widow" better than any other 
director in pictures — he always knows the 
tempo and the touches that should go with it. 
And Mae Murray should be quite perfect in 
that great part. 

HTHE opening of The Playhouse, a beautiful 
■*• new theater in the heart of Los Angeles' 
most fashionable district, was the most recent 
occasion for the complete turn-out of the 
motion picture celebrities. 

The theater, one of the finest in Los Angeles, 
was opened by Doris Keane in a revival of her 
greatest success, "Romance." Both the play 
and the star were received with tremendous 
enthusiasm. Louis O. McLoon, New York 
theatrical producer, and his wife, Lillian 
Albertson, are producing and directing at the 
new theater. 

In the audience that night were: 



Every advertisement In rnoTOPl.AY magazine is guaranteed . 



Photoplay Magazine — Advertising Section 



Norma Talmadge, in white satin, with an 
ermine cloak. 

Mae Murray, a low-cut dinner gown of white 
satin, heavily embroidered in silver, with a 
graceful drape of tulle. 

Enid Bennett (accompanied by her hus- 
band, Fred Niblo), a softly draped gown of 
Alice blue georgette. 

May McAvoy, blue satin, under a wrap of 
seal with a kolinsky collar. 

Ruth Roland, a French gown of ecru lace, 
with a gorgeous colored sash and a Spanish 
shawl of royal blue. 

Pauline Frederick, white crepe beaded with 
pearls, and a gorgeous sable coat. 

Lois Wilson, apricot colored chiffon, with a 
blue evening turban and a cape of dull blue 
to match. 

Corinne Griffith, an embroidered shawl of 
deep flame color, with a gown of flame colored 
georgette in very simple, straight lines. 

Colleen Moore, a short white ermine jacket 
over a pale yellow georgette frock, lined with 
orange. 

Mae Busch, straight-line black satin, trim- 
med in blue and silver brocade, with shawl to 
match. 

Laurette Taylor, lipstick red gown, with a 
gorgeously embroidered red shawl and red 
silken poppies over each ear. 

Alice Terry, pale pink georgette, embroid- 
ered in pearls, with a fringe of pink ostrich 
feathers. 

Pola Negri, black velvet and pearls, with an 
ermine cape. 

It was the first time that May McAvoy and 
Corinne Griffith had appeared with their new 
bobbed hair, which caused much excitement. 

Charlie Chaplin and Sam Goldwyn saun- 
tered down the aisle together just as the curtain 
was going up, and Will Rogers made a speech 
to christen the new theater. 

HOLLYWOOD has decided to believe "Ben 
Hur" only when they see it on the screen. 
Just now we are again torn asunder by all sorts 
of conflicting stories, which are denied gener- 
ally by the Metro-Goldwyn-Mayer studio, but 
which still persist. 

The two latest are that Charles Brabin 
resigned as director, that George Walsh has 
resigned as leading man, and that either Fred 
Niblo or Rex Ingram is to make it, with Ramon 
Novarro playing "Ben." 

This started over Fred Niblo's very sudden 
trip abroad, which came quite unexpectedly 
and which his reasons don't seem to justify in 
the Hollywood mind. Fred says that he is 
going to do some French exteriors for his own 
picture, "The Red Lily," and to Monte Carlo 
to take some for Norma's next picture, which 
he is to direct. He doesn't say whether he is 
also going to direct "Ben Hur" or not. 

Personally, I am beginning to feel that "Ben 
Hur" will have to be an awfully good picture 
to justify all the trouble and worry it's caused. 
I'm getting just a little tired of trying to guess 
the answer. 

As some wit recently said, " 'Ben Hur' isn't 
a picture. It's a riddle." 

•"THE fans have been wanting a real, old- 
*■ fashioned Marshall Neilan picture for a 
long time. They were happy to see the won- 
derful combination of Marshall and Mary 
Pickford together again in "Dorothy Vernon." 
But they want a picture of Marshall's to follow 
that. 

And they're going to get it. "Tess of the 
d'Urbervilles" is Marshall at his best. Its 
drama is so moving that it leaves you utterly 
exhausted at the end. It is a great picture, and 
it brings back Blanche Sweet to her rightful 
place as one of the finest dramatic artists the 
screen has ever had. 

"CRED THOMSON and Frances Marion— 
*■ who are married to each other — are just 
starting to build a wonderful new home in 
Beverly Hills. They have bought the top of a 
hill adjoining the Thomas Ince estate, and the 
tennis court and swimming pool are in process 



95 



1*4, W 1 




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When you write to advertisers please mention rHOTOPI.AY MAGAZINE. 




Photoplay Magazine — Advertising Section 



Your Place 
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A casting director wiih his hands full! These young citizens were applicants 

for roles in Frank E. Woods' " What Shall I do? " featuring Dorothy Mackaill. 

The casting director looks here as if he were enacting the title role 



Name . . 
Address . 



of construction so that Fred and Frances can 
entertain with outdoor parties this summer. 
The house will be started as soon as Frances 
finds some satisfactory plans. 

Fred Thomson, in the meantime, has just 
signed a wonderful new contract for a series of 
Western starring pictures for F. B. O. His 
popularity has been increasing enormously and 
Hollywood is rather expecting him to join up 
with Bill Hart and Tom Mix as a Western hero. 
Thomson held the all-around athletic cham- 
pionship of the world for eleven years and was 
a football sensation at Princeton. They still 
tell tales about Fred's football experiences at 
Princeton. He had already played four years 
as the star of a Western college and so wasn't 
eligible for the varsity at Princeton. But he 
played on the second team, to keep in condi- 
tion, and the second team trimmed the varsity 
in almost every game that season, due entirely 
to Fred's marvelous playing. 

Frances, meantime, is receiving congratula- 
tions on her work in adapting "Cytherea" for 
the screen. It was one of those things they 
said couldn't be done, and the wise ones had to 
be shown before they would believe it. 

IS Charlie Chaplin nursing some secret sor- 
row? Does he regret the fiery and beautiful 
Pola? Or is it just that he's in the middle of a 
new comedy? 

Anyway, every time I see him at lunch at the 
Montmartre, or in the evening watching the 
dancers there, or even down at the Swimming 
Club with that smart-looking Thelma Morgan 
Converse, he looks unfathomably sad — sunk in 
deepest gloom. 

In spite of that, above the walls of his studio 
gleam beautiful high hills, covered with gleam- 
ing snow (salt-snow), which testify that the 
new Chaplin comedy may be ready for release 
some day this year. 

Making comedies is a very serious business. 

TWO new scenario writers are dawning with 
great prominence upon the horizon of the 
motion picture industry, and certainly there is 
great need for them. More than anything else, 
even stories and new faces, the game needs 
scenario writers with a talent for screen adapta- 
tion of famous stories. 



The two who shine so promisingly are Willi> 
Goldbeck, hailed as a real genius by the entire 
moving picture world, and Dorothy Farnum, a 
young lady with red hair who did the con- 
tinuity on "Beau Brummel." 

Goldbeck did "Scaramouche" and it is 
understood is to do "Peter Pan" for Lasky. 

"D EX INGRAM'S retirement now seems a 
-^-definite thing. When Ingram returned re- 
cently from his brief rest in Florida, his 
physicians informed him that it would be 
dangerous for him to attempt another motion 
picture production. They insisted that he must 
rest, warning him that any consistent work 
would bring on a breakdown. So Ingram has 
been engaged for weeks in adjusting his affairs, 
preparatory to leaving for Tunis. 

Ingram, it will be recalled, bought a house 
there when he was in Africa shooting "The 
Arab," and he intends to go back with his wife, 
Alice Terry, leaving America shortly. Mrs. 
Ingram has been in California closing the 
Ingram house, packing furniture and adjusting 
her husband's extended real estate holdings. 
Ingram declares that, while he will rest for 
some time, his wife probably will reappear on 
the screen shortly, having several interesting 
offers from European producers. Rex, how- 
ever, will take a long rest, breaking the monot- 
ony now and then with sculpturing in a special 
studio he is building close to his Tunis resi- 
dence. 

""THEY'RE telling an amusing story of a 
-^ motion picture director who has been out of 
work for some time. The director recently 
came to New York in quest of work and met a 
friend on Broadway. 

"I'm between productions," he explained. 

"What productions?" demanded the friend, 
curiously. 

"Er — 'Cabiria' and 'Ben HurM" responded 
the director, who has a sense of humor, if he 
has little else just now. 

JUST a6 these lines are being written Marion 
Davies is rushing her production of "Janice 
Meredith" to a conclusion. It now seems 
definite that her next picture will be a version 
of "Zander the Great," the stage success util- 



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Photoplay Magazine- 



ized a season ago by Alice Brady. After that 
will probably come Barrie's "Quality Street." 
It is likely that Sidney Olcott will return to 
direct the Barrie play but the director for 
"Zander the Great" has not been chosen yet. 
Incidentally, we hear that Anita Stewart will 
soon start work at the New York Cosmopolitan 
studios in "Never the Twain Shall Meet," 
Peter B. Kyne's story of the South Seas. 

D. W. GRIFFITH'S plans are still indefinite. 
Representatives of the Italian capitalists 
recently visited by Griffith in Rome have been 
in this country, discussing further details with 
the director. They want D. W. to come to 
Rome for two years and make several pictures, 
which would practically be government backed. 
The Italian government wants to bring the 
motion picture back to its old position of im- 
portance in Italy and they think Griffith is the 
man to do the regenerating. 

Griffith, however, is undecided. Meanwhile, 
his huge studio at Mamaroneck lies idle save 
for a few caretakers. We strolled about the 
grounds with Dick Barthelmess recently and 
the place looked desolate. Here and there 
were storm-battered remains of Lexington, 
Paris, and the old farm of " 'Way Down East," 
reminders of the past glories of the Griffith 
regime. But the huge plant lay silent and 
desolate. 

TOHN ROBERTSON, the director, thinks 
J that it is only a matter of time before the 
motion picture and radio are linked. 

"Think of the possibilities," remarks 
Robertson. "Imagine the universal appeal of 
a title like 'The Hunchback of Neutrodyne!' " 

A GROUP of " insiders " of the industry were 
discussing the relative financial returns 
now enjoyed by film stars. Harold Lloyd, it is 
said, is getting between thirty and fifty thou- 
sand dollars a week from his pictures. He is 
unquestionably making the most of anyone in 
the industry. Mary and Doug have invested 
such terrific amounts in their pictures that they 
c annot reap a great gain. Chaplin is taking his 
time and not worrying particularly about im- 
mediate profit. But, just the same, "The 
Woman of Paris," which was supposed to lack 
popular appeal, has already brought in close 
to seven hundred thousand and will easily go 
the million mark. It was an inexpensive pro- 
duction, as the players worked for much under 
their usual salaries in order to get the oppor- 
tunity with Chaplin. Menjou was the highest- 
salaried, and he only took five hundred a week. 
Chaplin voluntarily gave Edna Purviance a 
percentage of the profits in recognition of her 
long service as his leading woman. 

A/TARSHALL NEILAN was looking for a 
■'■''•'■story. Gerald Beaumont submitted one 
with the action laid in Deauville, Biarritz, 
Monte Carlo and Paris — in the height of the 
season for each place. Mickey made a leaping 
acceptance of it, and is now off for Europe with 
wife, Blanche Sweet. Here's a tip to ambitious 
authors — plot your story on holiday locales. 
Incidentally, it looks as though Mickey had 
wrought a great masterpiece in "Tess of the 
d'Ubervilles." 

HTHE fact that $100,000 was paid for the 
■j- Southern rights of "Abraham Lincoln" in- 
dicates that all trace of feeling has died 
between North and South. Were a picture to 
be made of that gallant general and gentleman, 
General Robert E. Lee, it would be just as 
popular, no doubt, with all of us. 

pORIXNE GRIFFITH has had a new song 
^written in her honor. The boys of the 
orchestra at the Mo^martre are the com- 
posers, and it was sun.;,' there the ether owning, 
when Miss Griffith was present. Later in the 
evening Corinne judged a dancing contest and 
presented the cup, which was won bv Lew Cody 
and May McAvoy. 

_ Corinne looked unusually lovely in a white 
silk suit, on rather severe lines, and a big, black 



-Advertising Section 
1 



97 



The meals of 



yesteryear 



•-WI: 











Tm 
effi 



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9 8 



Photoplay Magazine — Advertising Section 



one 

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How would you like to be a cameraman? Here's John Arnold getting set to 

lake pictures of Monte Blue at forty miles an hour. Perhaps the rush of air 

will hold him on there — perhaps 



maline hat with a sweeping brim. Her new 
husband, Walter Morosco, was in attendance. 
By the way, we would like to know whether 
there is anything serious in Lew Cody's atten- 
tions to a pretty blonde widow who is not in 
the picture business. They've been seen 
together in public enough so that it seems fair 
to make inquiries into the matter. 

HTHOM AS H. INCE has become so busy with 
-*- his big productions that he doesn't often 
have time for personal direction of scenes. But 
he hasn't lost any of the old fire and dramatic 
appeal that once made him a great director. 

The other day he was consulting with a 
director and scenario writer over a difficult end- 
ing to a story. He began to tell them his idea 
of the ending, and as he got enthused about it, 
he acted out the most dramatic scene. When 
he was through both the director and the 
author were wiping away tears, and there 
wasn't any more question about the ending. 

Mr. Ince was responsible for a lot of the 
direction of "Anna Christie," for he took the 
megaphone himself on many of the big scenes. 

THE motion picture future of Rodolph 
Valentino is still a matter of conjecture as 
this issue of Photoplay goes to press. The 
terms of Rudy's readjustment with Famous 
called for the making of two productions. 
Now, with the second, "The Sainted Devil," 
based upon a Rex Beach story, nearly com- 
pleted, everyone is wondering who will release 
his future pictures and where they will be 
made. 

Rudy's next production, and his first inde- 
pendent release, will be a Spanish story with 
Valentino as a gay Castillian. The title and 
the name of the author are a secret. Nita 
Naldi, by the way, has been back playing with 
Valentino again in "The Sainted Devil." Abo 
in the cast are Helena D'Algy, the young 
Spanish girl who first was seen in "The Re- 
jected Woman," and her brother, Antonio 
D'Algy. 

SPEAKING of Nita Naldi reminds us that 
that picturesque actress has at last defeated 
avoirdupois in open battle. Nita is again close 
to 130 pounds. Which will please Miss Naldi's 
many screen admirers. Nita says she is going 
to take her art seriously again and all that sort 
of thing. The diet? Well, Nita is rather 
reticent. She says it's mostly lack of diet. 
That is, the complete elimination of eating — 
almost. But she does admit that lamb chop 
and pineapple form a large part of the food r he 
has allowed herself. Try this at vour own » ls k> 
however. 



"yOU ma y i, e interested to know that 
■!■ Valentino and his wife, Natacha Rambova, 
have their luncheons sent by motor car to the 
Astoria, Long Island, Famous Players studios 
from an Italian restaurant in West 51st Street, 
close to the Capitol Theater. Rudy loves his 
native cooking. And in the same small and 
unknown restaurant you will find the Valen- 
tinos dining almost any night of the week 

r T"HE making of " Ben Hur" in Italy seems to 
-*- have hit upon the rocks. For some time 
Charles Brabin, the director, and June Mathis 
have been at work upon the production of the 
late General Lew Wallace's famous story in and 
about Rome. George Walsh and other mem- 
bers of the cast have been hard at work. But 
the production appears to have encountered 
various vicissitudes. Bad weather held up work, 
for one thing. The limitations of technical 
equipment in the Italian studios has been 
another handicap, too. 

Anyway, early in June, Marcus Loew, head 
of the newly combined Metro and Goldwyn 
interests, decided to call at least a temporary 
halt. As this issue goes to press Mr. Loew is 
starting for Rome, accompanied by Directors 
Marshall Neilan and Fred Niblo. It is prob- 
able that Charles Brabin will be withdrawn 
as director and that Miss Mathis may also 
withdraw. Rumor has it that a brand new 
start will be made with an entirely new cast. 
We hear that Ramon Novarro is now to be the 
Ben Hur and that either Mr. Niblo or Mr. 
Neilan, or both, will handle the directorial end. 
It appears that the work to date, costing some 
$200,000 or more, will be discarded. So much 
for the mysteries of motion picture making! 

GLORIA SW ANSON has purchased a fine 
estate at Croton-on-Hudson, N. Y., in an 
exclusive section where many players, literary 
folk and artists reside. In fact, in her immedi- 
ate neighborhood will be Holbrook Blinn, 
Margaret Mayo, Edgar Selwyn, Boardman 
Robinson, Crosby Gage, Bayard Veifler and 
Margaret Wycherly. Miss Swanson's new 
estate consists of forty acres and includes the 
top of Kitchawan Mountain, commanding a 
fifty-mile view up and down the Hudson River 
Valley. The house itself is of Colonial archi- 
tecture. 

PH0TOP T ~\ 1 "s convention on the bobbed 
nair question has created turmoil in Holly- 
wood. Some are running for the shears, while 
others are going to let their hair grow. After 
reading the various emphatic, even warlike 
statements, pro and con, Alice Terry clapped 
her blond wig over her elegantly bobbed 



Every advertisement in riIOT°' JI - AY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



99 



tresses. "I'm taking no chances!" said Alice. 
"In 'The Arab' I had bobbed hair, in 'The 
Great Divide' I'm going back to the longest of 
long hair. I aim to please." 

That reminds me of a remark Agnes Smith 
made when I met her after I had visited the 
tailor. 

"What kind of suits are you having made?" 
asked Agnes. 

"A blue and a grey," I replied. 

"You're not taking sides, are you?" said 
Agnes. 

THE New York Astor Theater premier of 
"The Sea Hawk'' was the one recent event 
of screen importance in the metropolis. The 
opening drew- a representative audience, in- 
cluding such celluloid notables as Richard 
Barthelmess, Mary Hay, Claire Windsor, 
Barbara La Marr, Agness Ayres, Bert Lytell, 
Carmel Meyers, Allan Dwan, John Robertson, 
Josephine Lovett, George Melford, Irvin 
Willat, Billie Dove, Emmett J. Flynn, Lloyd 
I lamilton, Joseph Hergesheimer. Marcus Loew, 
Jesse Lasky, Nicholas Schenck, F. J. Godsol, 
Elmer Clifton, Helene Chadwick, Cullen Landis 
and Edmund l.oew. Incidentally, Frank Lloyd, 
the director of "The Sea Hawk," watched his 
production from a top gallery, unobserved by 
the famous folk of the audience. Hence, he 
missed a curtain speech. 

FOR the first time the big William Fox studio 
in New York is inactive, at least as far as the 
Fox interests are concerned. Space is being 
rented to other companies and George Melford 
i- at work there on "Sandra,'' with Barbara La 
Marr in the stellar role. The script is by Ouida 
Bergere and Peter Milne and is a sort of 
feminine variation of the "Cytherea" theme. 
Miss La Marr will play the wife who becomes 
bored with home life. 

MARSHALL NEILAN was an interesting 
New York visitor recently, when he came 
to town en route to the other side. Neilan is to 
see a prominent London surgeon regarding 
stomach trouble which has been giving him 
serious annoyance recently, and he will likely 

[ COXTIMED ON PAGE 126 ] 



Announcing Grace Corson, 
Fashion Authority 

[ CONTINUED FROM PAGE 66 ] 

(■race Corson, whose fashion drawings and 
designs have adorned the pages of Harper's 
Bazar for several years. 

Beginning next month, Miss Corson will 
illustrate and edit a department of new- 
clothes worn in current releases of motion pic- 
tures. 

Her w-ork will be of tremendous value to 
motion pictures as well as to the readers of 
Photoplay Magazine. The screen being a 
great influence for good taste, it can be equally 
guilty of exerting the opposite influence, for it 
IS natural for women to feel that with the large 
sums of money that prominent actresses are 
spending on their clothes, they should be the 
last word on what is proper and up-to-date. 

This month Miss Corson has taken two 
examples of poor taste from current pictures, 
for she believes that she can be of service in 
this way as well as to point out the good things 
shown on the screen. 

She is not by any means a severe critic, but 
she believes that the motion picture producers 
and stars should realize their responsibility, 
and will let no glaring example of poor taste go 
without challenge. No woman in the counts- 
is in a better position to keep in touch with 
everything that is new in clothes than Miss 
Corson, and she, herself, is considered one of 
the best dressed women in New York City. 

So that you may know her, Photoplay re- 
quested her to show you some of her own ward- 
robe and she graciously consented. All of the 
photographs on pages sixty-six and sixty-seven 
were posed by her just before this issue of 
Photoplay went to press. 



A &rcnving frequency of blackheads and 

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Evidence of what daily 
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IOO 



Photoplay Magazine — Advertising Section 




After Sun, Wind 



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It Isn't the Original Cost of "Bobbed Hair" — 



[ CONTINUED FROM PAGE 33 ] 



cured myself after being afflicted 15 years. 

C.S.GIVENS. 139 Chemical Bids.. Kansas City , Mo. 



run the cost of maintaining her bob up to $150 
a week on two occasions, counting the hair- 
dresser's salary, traveling expenses and hotel 
bills. Estelle Taylor took a hairdresser to 
Alaska with her recently. It is not surprising 
that Florence Vidor, whose beautiful hair is 
still long, feels she has something on the rest. 
She has it marcelled once in two weeks. 

Norma Talmadge's "Bob" Costs 
Her $15 a Day! 

That's when she's working, other times the 
upkeep is $15 a week. Miss Talmadge used to 
attend to her own hair, with the help of her 
personal maid. Since she has had it bobbed, 
an expert man hairdresser comes to the studio 
to marcel her hair before she starts work, and 
he "stands by" all day to restore any dis- 
arrangement. This costs from $15 to $18 a 
day. And this in spite of her naturally curly 
hair! But the curl which arranged itself juft 
right when her hair was long, wasn't the sort to 
give the chic appearance necessary for bobbed 
hair to look well. 

Gloria Swanson's Economical 
Boyish Bob 

"Am I fortunate?" asks Gloria Swanson, "or 
am I simply audacious? " For Miss Swanson is 
one of the lucky ones who look their best in the 
straight boyish bob. She used to wear it dif- 
ferently marcelled and waterwaved and netted, 
and the upkeep was enormous. It looked well, 
but doesn't the straight bob look better with 
her strikingly individual features? "There is 
nothing to do to this sort of bob but to have it 
trimmed every week or ten days. That costs 
me about $5 a month." Lucky Gloria! 

Anita Stewart Tired of Her Bob 

She was one of the first of the film stars to 
cut it off, too. "I am letting my hair grow 
long," says Miss Stewart. It's her back hair 
she's talking about, for she has always kept it 
the usual length around her face. " It was such 
a pleasant relief to be rid of the mass of hair at 
the back. I felt as though a friendly breeze was 
constantly blowing on the back of my head. 
But the need of weekly trimmings to keep it 
just so became a nuisance. I had to quarrel 
with hairdressers for appointments and finally 
had to arrange to have the work done at home. 
I didn't mind the eight or ten dollars a week it 
cost me in money, but the strain on my nerves 
was too expensive." 

It's a Bother and Expense, But 
Constance Likes It 

"Bobbed hair may be a drawback to a 
tragedy queen, but it is no handicap to a fun- 
maker," was the way Miss Talmadge expressed 
her sentiments to Photoplay. It's easy to 
agree with her that a shake of a short-haired 
head gives more emphasis to a comedy point 
than would the shake of three feet of perma- 
nently waved hair! Constance's hair is very 
thick, very fine, and naturally lies in just the 
right position. And it costs her five dollars a 
week — two hundred and sixty dollars a year. 
"It is worth that to me," she said, "though it 
is a bother. I save energy by having my clip- 
ping and curling done at home." 

"I Wish I Hadn't Bobbed It," 

Says Billie Burke 

"I am suffering from remorse." What a con- 
fession when it looks so becoming, with the 
natural ripple that gives a piquant effect no 
hairdresser could ever achieve. For one thing, 
bobbed hair doesn't look so well with evening 
costume, Miss Burke told Photoplay's repre- 
sentative. "A switch of one's own hair, of 
course, is a solution of that problem, out that 
is a huge and variable expense," she said. "A 
becoming bandeau is another solution." The 



time it takes to keep bobbed hair just so is 
what Miss Burke objects to more than the 
money cost, which in her case runs to only 
eight or ten dollars a month. It's the full 
morning at the hairdresser's once a week, when 
she has a big house and little daughter to look 
after, besides all her other activities. "Still." 
she says, philosophically, "it's an individual 
problem, like marriage or Sunday dinner. 
Every woman must decide it for herself." 

Marion Davies Knows 

"Is bobbed-hair economical for the average 
woman? ,Count the number of hairdressing 
establishments that have set up in business in 
the last year. Obviously somebody is paying 
for the upkeep. I suppose the average woman 
whose hair is bobbed spends from a dollar and 
a half to five dollars a week at the hairdressers. 
Before you lob, you must consider several 
things about the expense of upkeep. If under 
thirty, slim and youthful, and if your face 
and head are well shaped, you have nothing to 
worry about. Your bob need only cost you 
the fifty or seventy-five cents for the clip. You 
can shampoo it at home and wear it straight. 

"If you are over thirty and your hair is 
straight, your bob will require more care. You 
will need the services of a hairdresser once a 
week to have it waved and shaped. But few 
women over thirty can wear the boyish cut 
and get away with it. The most becoming bob 
is the conservative one with the hair shaped 
so as to give the effect of a flat hairdress, 
loosely waved and with the hair fluffed softly. 

"Frankly, it is expensive. A heavy fog or a 
little rain will ruin the most elaborate loose 
wave. As for the frizzy tight wave, it has 
gone out of fashion, fortunately. Even the 
woman who hopes to save money by having a 
permanent wave is obliged to keep it in trim 
by having frequent water waves, if she wants 
to look her best. 

"Personally, I cannot speak from experience. 
My bob doesn't cost me a cent. My maid 
shampoos my hair once a week or oftener as the 
occasion requires. I wear the straight boyish 
cut. In a way I was forced to adopt it as I had 
to play the role of a girl masquerading as a boy 
in 'Little Old New York.' And that started 
the boyish cut. For formal wear, I sometimes 
have my hair waved as it looks better under a 
large hat or with a formal headdress. Waving 
is one of the duties of my maid at the studio. 

"But even if your bobbed hair is an expense, 
I should not call it a foolish extravagance. Not 
only is it a becoming fashion but it is a health- 
ful and sensible one. It has forced women to 
take proper care of their hair. If this seems a 
needless expense for women, why not have 
men return to the age of flowing whiskers?" 

How Mary Solved the Problem 

Naturally, the host of young women one sees 
in business offices with bobbed hair aren't 
spending anything like the amount of money 
for "overhead" that the screen actresses do, 
even when they are not working. Fifteen or 
eighteen dollars a week makes a good-sized hole 
in any business salary. But they manage it 
somehow, so Photoplay's representative asked 
Mary how she did it. 

Mary is a real person. She is the secretary 
to the vice-president of one of the big railroads. 
She takes pride in looking as trim, as business- 
like and as attractive as she can. So Mary, of 
course, bobbed her hair when the vogue had 
become firmly established. 

"I used to buy hairpins, nets, shampoos and 
an occasional wave," said Mary. "I thought 
the bob would relieve me of the nets and hair- 
pins and enable me to shampoo it myself, and 
so would be a saving of money, if not of time. 
But my hair is straight, and mere waving won't 
do; it has to be curled. The straight bob 
doesn't fit my type of face at all. Bobbed hair. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



101 



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102 



Photoplay Magazine — Advertising Section 



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I found, doesn't hold the curls half as long as 
long hair does. Then it has to be trimmed, for 
my hair grows more than half an inch a month. 
It cost me from one dollar to three dollars for 
a wave and a curl, which wouldn't last more 
than a week. 

"To have a permanent wave done properly 
would cost me around twenty-five dollars. I 
was spending twelve dollars a month on my 
hair, and I resolved that I would not spend 
more than that. A permanent wave that 
would last ! ix months would be a cheap invest- 
ment even if I did have to have it water-waved 
occasionally. But I wasn't going to spend that 
money until I had saved it on my hairdressing. 

"I began by putting it up on curlers every 
night. I found that I could do this and get a 
tight curl that lasted for days. To get more of 
a wave, and a round curl, I tried using an iron. 
To my surprise, I found in a short time I was 
getting a better effect than the hairdressers had 
given me, at a cost of only fifteen or twenty 
minutes of time every day. Once a month I 
have half an inch trimmed off; the rest I do 
myself. It costs me more to have bobbed hair 
even doing it myself, for my time and energy 
are my capital, but I like it." 

Waves, Permanent or Otherwise, 
Essential 

Bobbed hair experts agree that a wave of 
I ome kind is absolutely essential except for the 
rare exceptions who look best in a straight bob. 
What sort of waves, and how often waving is 
necessary, and how to keep the waved bob in 
shape, were things which Photoplay asked 
many of these experts about. 

Said A. Charles, of the Plaza and the Ritz- 
Carlton, "I bobbed the hair of a woman of 
ninety-eight the other day. _ Ninety-eight! 
And when it was done she didn't look fifty. 
Women don't need to be convinced of its desir- 
ability. Their problem is the upkeep. 

"I think every professional will recommend 
the permanent wave. I do. It is aesthetic, it 
is durable and it is economical. I charge from 
thirty -five to forty-five dollars, but it will last 
six months. Without it, the woman with 
bobbed hair needs a marcelle at least once a 
week, and if she would always look her best, 
once a day or even oftener. It costs a dollar 
and a half or two dollars every time, and the 
hot irons do not benefit the hair. Once a day is 
ten and a half dollars a week. At the seashore, 
twice a day is not too often. The naturally 
curly hair needs a water wave occasionally, at a 
cost of a dollar and a half. 

"All bobbed hair needs clipping once a week. 
Another dollar and a half. If it grows fast, it 
needs a net. Two, three, four nets a week; 
perhaps the gold mesh net, the latest from 
Paris, or the large-meshed silver net; one 
dollar. Ordinary nets, twenty-five cents each. 
"That is why I maintain that the permanent 
wave is cheaper in the long run, though no 
woman can look her best in bobbed hair with- 
out an expense of ten dollars a month or more." 
Jessica Ogilvie is one of New York's beauty 
specialists who does not approve of the bob, 
but if her patrons insist upon it her experts will 
do it in the style best suited to the individual. 
"One thing I never tell a patron, for it is not 
true _I n ever tell her it will be cheaper to have 
her hair bobbed," said Miss Ogilvie. "The 
only way the bobbed hair girl can save expense 
is to do everything except clipping, herself. If 
she will do her own shampooing, let her hair go 
straight (for she can rarely get the waves and 
curls right unaided), and be content with a 
monthly clipping, she may get through the 
summer for five dollars. But few girls will be 
satisfied with the results." 

For the woman who wishes always to look 
her best and who can afford it, C. Nestle esti- 
mates the upkeep cost of bobbed hair at not 
less than fourteen dollars a week, or sixty dol- 
lars a month. "The permanent wave, even as 
high as sixty dollars, is more economical." 

"To bob or not to bob?" It costs more, it 
takes more time, you'll be sorry you did it, 
but— if you haven't yet— you will! 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 

Close'Ups and Long Shots 



[ CONTINUED FROM PAGE 46 ] 

she couldn't hear the concert. "That's my 
husband playing," said Alice proudly. "He's 
a musician now." 

Rex apparently has lost interest in the 
screen. He wants to broadcast. 

RUPERT HUGHES assumed the role of 
critic following the premiere of D. W. 
Griffith's "America" in Los Angeles. That he 
made good is attested by the fact that Mr. 
Griffith printed the criticism in advertisements. 
I quote a part: 

"... The whole sequence in which the son 
is brought to the bedside of the wounded 
father by that divine deceiver, the daughter, 
overwhelmed me as one of the greatest achieve- 
ments by any of the arts from the Greek tragedy on. 

"The extraordinary tangled skein of Miss 
Dempster's acting, with every thread sincere 
and distinct and unlike anybody else's, also 
quite conquered me." 

It is bruited that the Metro-Goldwyn-Maver 
concern wishes Mr. Hughes to abandon his 
directorial duties and confine himself to writ- 
ing. Personally I feel his feature is his versa- 
tility, just as it is Gertrude Hoffman's. I have 
been a regular patron of Gertie's acts for many 
years without being able to decide whether she 
is better at the drums or the fiddle, at juggling 
or leg-tossing. 

AS for Miss Dempster's tangled skein of act- 
ing, it has never conquered me quite, 
though it has bewildered me. I have never 
discerned the least charm or talent in her 
dervish delineations. She isn't even a good 
imitator of Mi-s Lillian Gish. No picture can 
interest unless its players interest. The player 
is the director's most important pigment. Mr. 
Griffith's decline as a director commenced 
simultaneously with his decline as a discoverer. 
Has he forever lost the discerning vision that 
brought forth the glory of the incomparable 
Lillian and the excellence of Richard Barthel- 
mess? 

I TAKE more pride in my predictions than 
auntie did in her pickles, grandma in her 
petunia bed, and the undertaker in his ability 
to achieve a life likeness. Thus I'm taking off 
my hat and wringing my hand for the sound 
advice I gave as to the casting of Ramon 
Novarro in the role of Ben Hur. By following 
my tip the new Metro-Goldwyn-Mayer organ- 
ization has qualified as a power and achieved 
my official recognition. Being impartial in my 
charitable deeds I would now like to help out 
Paramount in the casting of "Peter Pan." I 
would like to secure for them the services of the 
true Peter Pan, Mr. Jackie Coogan. I refuse 
to make a prediction because the colored sleuth 
on the Lasky lot has tipped me off that a 
female will get it. Still I contend that Jackie 
Coogan could do it so well that even I could 
understand what Barrie had in mind when he 
wrote it. 

METRO-GOLDWYN-MAYER having 
shown a real desire to make good by ac- 
cepting my casting tip for "Ben Hur," I propose 
to help the young company along a little 
further by casting the leading roles in Papini's 
"The Life of Christ," which Monte Bell is to 
direct for them. I assign Conrad Nagel the 
role of The Christ, Florence Vidor the role of 
Mary (presuming, of course, that that Sanzio 
Madonna, Lillian Gish, is not available), and 
Pauline Frederick for Mary Magdalene. 

T> APHAEL SANZIO painted Lillian Gish 
*-*'\vhen he painted his madonnas, so did 
Botticelli, so did Pintirrichio, so did all the 
early Italian masters. Why doesn't some 
screen painter do likewise? I have seen 
nothing closer to the divine than Lillian 
Gish's White Sister. It is a radiance of soul. 




The Spirit of Pioneering 

Impatience with present facilities, a restless searching for per- 
fect things — these have driven men to discovery and invention. 
They possessed the early voyagers who turned their backs on the 
security of home to test opportunity in an unknown land. They 
explain the march westward that resulted in this settled, united 
country. And they have inspired the activities of the Bell System 
since the invention of the telephone. 

The history of the Bell System records impatience with any- 
thing less than the best known way of doing a job. It records a 
steady and continuous search to find an even better way. In 
every department of telephone activity improvement has been the 
goal — new methods of construction and operation, refinement in 
equipment, discoveries in science that might aid in advancing the 
telephone art. Always the road has been kept open for an un- 
hampered and economic development of the telephone. 

Increased capacity for service has been the result. Instead of 
rudimentary telephones connecting two rooms in 1 876, to-day 
finds 15,000,000 telephones serving a whole people. Instead 
of speech through a partition, there is speech across a continent. 
Instead of a few subscribers who regarded the telephone as an 
uncertain toy, a nation recognizes it as a vital force in the busi- 
ness of living. 

Thus has the Bell System set its own high standards of service. 
By to-day's striving it is still seeking to make possible the greater 
service of to-morrow. 

American Telephone and Telegraph Company 
And Associated Companies 

BELL SYSTEM 

One Policy, One System, Universal Service 




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FRIENDLY 
ADVICE 



From 

Carolyn ^Uan Wyck 



CORINNE L. A., CAL. 

You are so young and you are so busy, with 
your school work and your music, that I can 
see your parents' point of view in forbidding 
you to have callers. There is plenty of time 
for that sort of thing later, when the school 
work is done, and you have progressed farther 
in your music. It is a pity that you are not 
permitted to take up the study of classic danc- 
ing, but, as your parents are paying for your 
education, I am afraid that you must abide 
by their wishes. When you are older and 
earning your own living, you can perhaps take 
up the study of dancing. 

"Unhappy," Stockton, Cal. 

It is only natural that a girl should want 
pretty clothes and a lovely home in which to 
entertain her friends. But it's hard to earn 
the money for tho-e things, at home, unless 
one has some special talent that may be culti- 
vated. Or some special ability that one may 
capitalize. For instance, many writers and 
artists do their work at home. And many 
girls who have a gift for needlework do dress- 
making for their neighbors. Often there is 
typing to be done— if one is a good typist. 
And sometimes quite a market for home-made 
pies, cakes and candies may be built up. 
What can you do? Write and tell me and 
perhaps then I can advise you. 

R. H., Wheaton, III. 

You are only fifteen years old — much 
younger than most of my pen and ink friends. 
And you mustn't worry about being tall and 
thin — you are not too tall and you are thin 
because you have grown rapidly. In a year 
or two you will fill out and be just the proper 
proportion, I am sure. Often girls of your age 
are too stout, rather than too thin. And that 
is much less pleasant. Yes, you may use a bit 
of powder — but no rouge, as yet. Use flesh 
color, or naturelle. I prefer naturelle, myself, 
for the blonde — unless her skin is very pink, 
indeed. 

II. CM., Mass. 

If you are in love with the young man — 
who, from his record, military and otherwise, 
sounds very worth while — you will know it. 
Love does not ask questions. It is sure. The 
fact that you say you "have another in mind" 
shows me that you do not sincerely care for the 
man about whom you ask my advice. You 
had better wait, before marrying, until you 
are so sure that no advice is necessary. That 
is the safe way. 



Margarethe, Java, D. E. T. 

Living in the Orient, it is too hot for much 
violent exercise. I think that you should re- 
duce through diet, rather than in a more 
strenuous way. Try to go without starchy 
foods, do not drink milk or cream, and forego 
pastry and sweets. And then, I am sure, 
you will lose weight. Freckle cream will be 
useful to you, I am sure, in the removal of the 
freckles. Several creams of this kind are to be 
found in the advertising columns of Photo- 
play. I do hope that you will write to me,' 
whenever you need advice. Please remember 
that I will always be ready to help you. 

Mrs. L. B., Cal. 

I so dislike to disagree with your good hus- 
band. But you are overweight. Quite a 
great deal overweight! One hundred and 
forty pounds is far too much for a woman who 
is only five feet, two inches tall, to weigh. 
You should exercise and diet at once — before 
the surplus pounds have become a fixture. 
And — again to disagree with your husband — . 
you will look far better in long skirts than in 
the shorter ones. The long skirts will give 
you height and will make you seem more slim. 
Short skirts tend to make a short plump 
woman appear dumpy. 

Manon, Montreal, Canada. 

With medium brown hair (with reddish 
glints in it) greenish brown eyes and a creamy 
complexion, you can look very lovely — in the 
right colors. 

In the first place you should wear no rouge. 
Your color should be centered in your lips — 
the best lip stick obtainable in a brunette 
shade. Then you should use powder in the 
shade naturelle — never flesh or white. And 
you should wear greens, browns, yellows and 
old gold shades, with an occasional violet, or 
orchid, touch. Choose several colors, and 
wear them always — varying the combinations, 
if they weary you. Black will be charming, 
also, with your hair and eyes 

" Bewildered, " Bahamas. 

So often is trust betrayed — so often are fond 
hopes blasted! And, when this happens there 
is so little for the on-looker to say; so little 
advice to give. If the man who promised to 
marry you has deserted you for another, there 
is little that you can do — save appeal to his 
honor and his sense of fairness. If he has 
neither, you are better off without him, under 
all circumstances. But this, I know, is cold 
comfort to give you. 



Let Carolyn Van Wyck be your confidante 
She will also be your friend 

/^AROLYN VAN WYCK is a society matron, well known in New York's smartest 
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—The Editor 



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The Toast of Hollywood 

[ continued from pace 63 ] 

frankly is infinitely amused by them. I asked 
one of our greatest screen lovers, who had just 
been dancing with her and was in a speechless 
haze of glory, what it was all about. 

"She's not shopworn," he said brutally, 
"she hasn't that pawed-over look that modern 
women are getting." 

"But she was always like that," I protested. 

"Yes," he said, "but nobody realized then 
that a man might very readily trade his im- 
mortal soul if she ever did happen to look at 
him. She won't. She's cold as ice, outwardly. 
Besides, we're just beginning to get horri ly 
fed up with vamps and flappers. I hate 
chickens. As for women who sling sex in your 
face all the time, it's becoming nauseating. The 
reaction has set in. Frankness, daring, used to 
be a novelty. Now it's a bore. Why, I 
haven't danced with a beautiful woman — just 
a beautiful woman — in years. And I haven't 
been afraid of a woman — I mean afraid of 
offending, or annoying, her — since I can re- 
member." 

A polished — and slightly professional — cynic 
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"Men are optimists. They have just remem- 
bered, after five years of madness, that the un- 
attainable is also the desirable. The only 
woman worth having is the woman you can't 
get. We've been hideously common in our 
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the game itself, not the stakes that matter. 
Mrs. Vidor is simply a hopeful sign that we are 
once more becoming epicurean in our tastes." 

A LONG time ago Cecil De Mille, who knows 
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tilings, her appreciation of gifts. She is eager 
for friendliness, for human contact, for fun and 
enjoyment, and her capacity for them is not 
dulled. 

And she has practically no competition. 
Men are growing woefully tired of chickens and 
flappers, and woefully satiated with vampires. 

For the ten years of her marriage, she was a 
wife who deliberately closed the door upon her 
own personality. Her charm lay dormant. 
Nothing was done to develop it or to bring it 
forth. It was a contented sort of marriage, but 
I'm afraid it may have been a very dull one. 
The poetry of life, the romance of existence, the 
praise and encouragement and admiration that 
every woman needs so terribly, weren't there. 
Like a lovely mirror, Florence Vidor reflected 
what lay about her. Her heritage from that 
grandmother who had been a famous belle and 
beauty down South, was stifled, smothered. 

Yet all the time she was developing a tre- 
mendously forceful and definite personality. 
One thing about the new Florence Vidor who 
has so conquered Hollywood, is that she has 
lost that saccharine sweetness that practically 
always denies character. Florence is very 
much herself now, a very strong and vital 
woman, not obnoxiously intellectual, but ca- 
pable of sustained and interesting conversation. 

All the Southern-ness of her has come out, 
too. It's an odd coincidence that she and 



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loveliest thing I have ever heard. And she can be 
vivacious without losing one iota of that tan- 
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A lot of Florence's charm lies in the things 
she doesn't do. 

She doesn't make wise cracks — and Holly- 
wood is so tired of women who make wise 
cracks all the time. 

She doesn't talk about herself and the parts 
she's going to play. 

She doesn't continually use a lipstick and a 
vanity case in public. 

She doesn't talk all the time. 

She isn't always thinking about the effect she 
is producing. 

And her beauty has taken on a new flame- 
like quality, a white fire, burning very brightly, 
but very purely in the muggy atmosphere of 
our day. 

Balzac says somewhere that a virtuous 
woman has in her heart a fibre more or a fibre 
less than other women — she is either stupid or 
sublime. 

The thing that has made Florence Vidor the 
toast of Hollywood is that she has awakened in 
the hearts of men ideals they thought they had 
forgotten, dreams they thought would never 
come again. And when a woman can do that, 
Cleopatra herself can't compete with her. 



The Story Without a Name 

[ CONTINUED FROM PAGE 40 ] 



have had my disappointments, but this, after 
all, hasn't proved such a bad night for me." 

Alan gave little thought to that boast, for 
the door opened, the next moment, and his 
startled eyes fell on Mary Walsworth. She was 
thrust into the room by two seamen, who, at a 
sign from their master, withdrew and closed 
the door after them. 

The first thing he noticed about her was the 
disquieting pallor of her face. But her mouth 
was resolute as she stood, with her arms pin- 
ioned to her side, facing her tormentor. That 
tormentor seemed to expect some outburst of 
emotion from her as her gaze fell on Alan. But 
after one quick yet comprehensive glance at 
the man she loved she stood with her luminous 
eyes fixed only on her captor, who laughed 
raucously and uneasily, out of the silence that 
ensued. 

"You two young people don't seem over- 
joyed at getting together again!" he said with 
venomous mirth. Then his face hardened, at a 
gasp of defiance from the girl, as he swung back 
to the man against the wall. "Well, if you 
want to stay together, you know the answer. 
If you want to go back to your own country, a 
free man, and carry this girl out of harm's way, 
all you have to do is fit out that little instru- 
ment for me. That's my final offer, and I want 
your final answer." 

SO you include helpless women in your 
warfare!" was the cry from the man with 
the pinioned arms. 

"I'm ready to include anything, until I get 
what I'm after," was the other's equally 
passionate cry. "And death'll probably seem 
sweet to this girl, when she wakes up to what's 
ahead of her, if you're fool enough to force my 
hand. I've some sweet specimens in my work- 
ing crews off the islands out there. You'd 
rather see her thrown into a cage of tigers, I 
fancy, than passed on to one of those gangs of 
rum-swilling cut-throats. But as sure as 
you're standing there I'll put her aboard the 
foulest schooner I own and leave her there 
until even you wouldn't want what's left of her ! " 

A dewing of moisture showed on Alan Holt's 
blood-streaked face. 

"You wouldn't, you couldn't do a thing like 
that!" he cried with a gasp of horror. 

"I'll do it," proclaimed the other, "and when 
you see it done you'll sweat harder than you're 
doing at this moment. So take your choice." 



The helpless youth raised his stricken eyes to 
the face of the woman he loved. In that face 
he saw pride and purity. She impressed him 
as something flowerlike and fragile, something 
to be' sheltered and cherished and kept invi- 
olate, something to die for, if need be, before 
gross hands should reach grossly out for her. 

"All right," panted the prisoner. "I give 
up. There's a price I can't pay." 

"And I get a completed triangulator? " de- 
manded Drakma, taking a deep breath. 

But the answer to that question did not 
come from Alan Holt. It came, low-toned and 
unexpected, from the white-faced girl on the 
other side of the room. 

"You do not," she said, in a voice slightly 
tremulous with passion. "I'll die before I'll 
see that surrendered to you or to any other 
enemy of my country. Don't you see, Alan, 
what this beast is trying to do? He's trying to 
club your secret out of you with threats he 
daren't carry out. He's trying to torture you 
into being a traitor — for my sake. He's asking 
you to betray your country, to give away 
something that no longer belongs to you, but 
to the land you love. He thinks he can force 
you into that because of our love for each 
other, but I wouldn't let love be used for an 
end like that. And I won't be a part in any 
such bargaining — no matter what it costs." 

ALAN'S drawn face seemed to catch fire from 
her words. He stared at her with widened 
eyes, moving forward a step or two. His shoul- 
ders were back and his head erect as he next 
spoke. 

"You're right," he said with a newer ring in 
his voice. "I carry that secret, thank God, 
shut up in my own head. And it will stay in 
my head. And in the end this man who is as 
low as an animal will prove that he has only 
the mind of an animal. He can boast as he 
likes and try what he likes, but before he goes 
far with this he'll find himself defeated by his 
own evil." 

His swarthy-faced enemy did not seem to 
hear him. That enemy's narrowed gaze, in 
fact, was centered only on the white-faced girl 
directly in front of him. He continued to 
study her as he rose, with mottled face, and 
crossed slowly over to where she stood. 

"So this is your second trump!" he said with 
a hiss of hate in his voice as he suddenly caught 
at her shoulder and twisted her about. "Well, 



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we'll see how long you can swallow this sort of 
thing," he continued with his malignant laugh 
as he ripped the clothing from her slender 
shoulders. He reached out for her still again, 
but before he could act Alan Holt had cata- 
pulted his pinioned body against the startled 
Drakma, who turned sharply about, and sent 
his assailant falling back into a corner of the 
cabin with a blow on the jaw. With what was 
practically a continuation of the same move- 
ment he caught the girl and sent her reeling 
into the same corner, where she lay stunned be- 
side the huddled figure already there. 

Drakma, purple-faced, strode to the table 
and rang his bell. 

"Take these two fools to their quarters be- 
low deck," he said to the attendants who 
answered his call. "And see to it that they're 
properly penned up. For we're going to have 
considerable use for them, before this game's 
played out!" 

CHAPTER FOUR 

MARK DRAKMA was in a much better 
position to carry out his threats than his 
two prisoners imagined. And once he stood 
convinced of the fixed opposition of those 
prisoners he went on with his plans, without 
scruple and without hesitation. Too much was 
at stake, he knew, to have a failure. A king's 
ransom awaited him, once he came into pos- 
session of the Holt triangulator. And even 
though it should prove his last coup in the New 
World, he intended to possess that instrument. 

The situation, it is true, presented its diffi- 
culties. He could not, as his primal instincts 
prompted, do away with this sullen-minded 
Alan Holt. He could not batter in the head 
that held the secret essential to his reward — 
that would be too blindly killing the goose that 
must lay the golden egg. But he could take 
this youth and the woman he loved and so 
place them, Drakma remembered, that his 
prisoner's will would crumble and he would 
cry out for mercy, for mercy at any cost. 

For Drakma, as the master-mind among the 
Atlantic Coast rum-runners, maintained along 
the fringe of the Bahamas an unsavory organ- 
ization that was as efficient as it was lawless. 
Under him, in an unkempt fleet of luggers and 
sloops and power-boats, worked a drunken and 
care-free army of outlaws, the riff-raff of a 
thousand miles of coast-line and the scum of 
half-a-hundred sea ports. On Jack Ketch Cay, 
one of the hundreds of small coral islands 
fringing the Bahamas, he maintained a secret 
radio-station for directing the movements of 
these ships of mystery. And on his liaison 
craft The Martingale, a cutter-rigged sloop with 
an auxiliary engine, disguised as a copra-carrier 
from the lower Windwards, he maintained a 
second sending-station for communication with 
his stealthy units as they dodged their coast- 
patrol enemies and returned to their master- 
ship for newer cargoes and instructions. The 
method of this communication was ingenious, 
for instead of broadcasting open messages or a 
code which would have promptly excited sus- 
picion, Drakma had resorted to a more harm- 
less-appearing exercise, that of innocently dis- 
seminating the popular songs of the day on 
various and varying instruments, the type of 
instrument and the precise time of sending 
determining the nature of the message behind 
the tune. 

_ It was not, however, until they hove-to be- 
side The Martingale, riding at anchor in a quiet 
sea, that Drakma confronted his two captives 
with what was actually ahead of them. And 
they arrived at an opportune moment, for 
when Alan and Mary were brought up on deck 
they were able to gaze across a lazy turquoi-e 
sea and inspect a dirty sloop-deck overhung 
with stained canvas under which rough men 
brawled and idled and sang their drunken 
songs. Even as they looked a game of cards on 
one of the hatch-covers ended in a dispute 
which sharpened into a fight where oaths were 
flung back and forth and knives were drawn. 
This resulted in the appearance of the master 
of the craft from his chart-room, with a 
revolver at his belt and a marlinspike in his ^ 



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hand, a lank and ungainly giant with a crooked 
nose and a stubble of russet hair along his 
tobacco-stained jaw. He scattered the fighting 
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reeling across the unclean deck-boards, pro- 
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a keg of his rum would be thrown into the 
briny. Then, taking a chew from his plug of 
black-jack, he turned and spat into the sea. 

As he did so he caught sight of the yacht 
alongside. He stood